SIXTH  EDITION 


HOW  TO  PAINT 

PHOTOGRAPHS 

IN 

WATER  COLORS  and  in  OIL 

HOW  TO 

WORK  IN  CRAYON 
MAKE  THE  CHROMO-PHOTOGRAPH 
RETOUCH  NEGATIVES 

AND 

INSTRUCTIONS  IN 

CERAMIC  PAINTING 

A PRACTICAL  HAND-BOOK  DESIGNED  FOR  THE  USE  OF  STUDENTS 
AND  PHOTOGRAPHERS,  CONTAINING  DIRECTIONS  FOR 
BRUSH-WORK  IN  ALL  KINDS  OF 
PHOTO-PORTRAITURE. 

BY 

GEORGE  B.  AYRES, 

ARTIST. 

There  is  no  degree  of  talent  so  small  that  ^roj>er  instruction  may  not  develop)  it. 


NEW  YORK; 

DANIEL  APPLETON  & COMPANY. 


I 


; COPYRIGHT  ; 

i GEORGE  B.  AYRES. 

No.  2022  N.  I ITU  St.,  Philadelphia. 

f-' 

I 


t 


THE  GEFTN'  CENTFR 
LIBRARY 


TO 


M\  TALENTED  FRIEND 

J.  AUGUSTUS  BECK, 

ARTIST, 

THIS  VOLUME 

IS  AFFECTIONATELY  DEDICATED 

BY 


THE  AUTHOR. 


PREFACE. 


In  transferring  the  publication  of  another  edition  of  my  book 
from  Philadelphia  to  New  York,  I do  so  with  the  confident  ex- 
pectation that  I am  accepting  a rare  opportunity  for  extending, 
it  to  a larger  field  of  usefulness. 

The  dissemination  of  previous  editions  having  been  confined 
more  especially  to  the  photographic  sphere,  it  has  been  felt  that 
the  merits  of  the  work — hitherto  so  freely  acknowledged  and 
endorsed  by  our  generous  fraternity — ^were  yet  to  be  known  and 
appreciated  by  the  book-buying  public  in  general. 

In  harmony  with  this  change  of  publishers,  I have  made 
numerous  alterations  and  improvments  in  the  book  itself; 
sparing  neither  time  nor  labor  in  my  endeavor  to  keep  it  in  the 
front  rank  of  excellence.  Not  a line  of  it  has  escaped  careful 
revision  ; the  entire  text  has  been  re-arranged  ; new  topics  have 
been  inserted ; and  the  whole  enlarged  by  many  additional 
pages  of  useful  matter. 

The  new  chapters  on  Crayon-Work,  Ceramic  Painting,  and 
the  Chromo-Photograph,  have  been  prepared  especially  in  re- 
sponse to  the  demand  of  the  times  for  instruction  on  these 
popular  art-subjects  ; and  which,  with  the  very  considerable  ex- 


PREFACE. 


V 


tension  of  the  chapter  on  oil  painting,  are  conspicuous  features 
of  this  edition. 

Having  received  many  assurances  that  my  former  labors  "were 
not  in  vain — in  developing  a love  for  the  beautiful  in  our  art, 
and  exciting  the  ambitious  to  still  further  excellence — it  has 
been  my  aim  to  leave  nothing  unwritten  here  which  I thought 
could  in  anywise  help  the  student  in  the  attainment  of  increased 
knowledge  and  practical  ability. 

I believe  that  this  best  of  all  my  editions  will  meet  fully  the 
expectation  of  those  who  await  its  appearance  ; whilst  I trust  it 
may  continue  to  be,  as  it  has  been,  the  Standard  Manual  for 
teaching  ‘'How  to  Paint  Photographs.'’ 


George  B.  Ayres. 


INTRODUCTION. 


No  book  ever  made  a painter^  or  ever  will.  Neither  can  Art 
be  taught  practically  by  books,  but  the  written  experience  of  others 
may  lend  important  assistance  to  the  student  who  undertakes 
the  task  of  self-tuition.  This  is  particularly  true  if  he  is 
gifted  with  such  powers  of  perception  as  will  enable  him  to  un- 
derstand, without  any  further  aid,  the  instructions  as  they  are 
given. 

There  are  very  many  instances, — especially  outside  of  the 
cities, — where  hooks  are  the  only  available  means  of  obtaining 
this  particular  kind  of  information  ; and  it  is  hoped  that  this 
little  work  will  be  found  sufficient  for,  and  meet  the  expecta- 
tions of,  the  many  who  cannot  enjoy  the  greater  advantage  of 
having  a competent  teacher. 

There  are  photographers  also  in  many  parts  of  the  country 
who  have  orders  for  painted  and  retouched  work,  but  who  may 
not  have  convenient  opportunities  for  committing  their  pictures 
into  the  hands  of  regular  artists.  At  the  same  time  they  may 
themselves  be  possessed  of  a degree  of  native  genius  which  only 
needs  direction  and  encouragement  to  enable  them  to  do  at 
least  some  of  their  brush-work.  Indeed  there  is  no  good  reason 
why  many  among  the  competent  photographers  who  have  in- 


INTRODUCTION. 


Vll 


herent  talent  and  aptness  for  picture-making,  should  not — in 
addition  to  the  operations  of  the  camera  and  dark-room — ^be- 
come tolerably  proficient  to  do  some  of  their  ordinary  coloring  ; 
and  by  study  and  practice,  a considerable  proportion. 

“Very  erroneous  ideas,’'  writes  a distinguished  painter,  “are 
entertained  regarding  the  capability  of  the  mind  to  acquire  cor- 
rect perceptions  of  color,  and  to  realize  them  in  artistic  effects. 
Too  much  is  ascribed  to  genius,  and  too  little  to  study  and 
perseverance. . Both  the  appreciation  of  color  and  the  pcmer  of  ex- 
pressing it  are  doubtless  attainable  by  education  ; and  under 
proper  direction,  the  laws  relating  to  harmony  of  color  may  be 
as  readily  understood  and  practiced  as  those  relating  to  perspec- 
tive, when  representing  forms  without  color,  the  pursuit  de- 
manding nothing  more  than  the  general  capabilities  required  in 
the  study  of  the  latter.  But  the  student  who  desires  to  attain 
excellence^  must  devote  his  time  and  labor  with  that  untiring 
energy  which  a love  of  the  art  can  alone  excite.” 

In  preparing  this  volume,  we  have  assumed  that  the  majority 
of  those  for  whose  use  and  improvement  it  is  more  especially 
designed,  have  no  desire  to  acquaint  themselves  with  the  philo- 
sophical minutiae  of  the  art  of  delineating  the  human  counte- 
nance and  form,  as  based  upon  the  correct  standpoint  of  an 
original  creation  upon  clean  paper.  The  photographic  image, 
already  provided,  obviates  this  necessity  ; and  hence  our  teach- 
ings will  be  found  simple  and  practical  in  regard  to  the  separate 
matter  of  Coloring,  — while  we  leave  the  profounder  aspects  of 
the  subject  to  be  studied  by  the  ambitious,  from  other  and 
more  comprehensive  sources. 

Practical  photographers  are  not,  however,  the  only  persons  for 
whom  this  book  is  designed.  There  are  many  others  who  wish 


Vlll 


INTRODUCTION. 


to  try  Photographic  Painting  as  a recreation  and  accomplish- 
ment, or  to  pursue  it  as  a livelihood — especially  women ; but 
the  inconvenience  and  expense  of  tuition  at  the  hands  of  proper 
instructors  (to  be  found  only  in  the  cities),  clearly  proves  the 
necessity  for  a standard  hook  as  the  next  best  means  of  gaining 
the  desired  knowledge. 

To  such  it  is  believed  this  work  will  be  really  acceptable ; 
and  our  sincere  hope  is  that  it  will  be  found  sufficiently  plain 
and  practical ; comprehending  all  that  is  necessary  to  render 
this  delightful  study  easy,  and  furnishing  one  more  stepping- 
stone  to  artistic  and  personal  advancement. 


Note. — We  deem  it  not  inconsistent  with  our  plan  of  prac- 
tical instructions  to  introduce  the  brief  chapters  which  term- 
inate on  page  25,  since  a knowledge  of  the  matters  contained 
therein  is  essential  to  intelligent  working  ; but,  as  they  may  be 
thought  rather  abstruse  for  the  beginner,  a thorough  study  of 
them  can  be  deferred  until  a certain  degree  of  iwrk  has  been 
accomplished, — although  they  should  he  carefully  at  the 
outset. 


I 


CONTENTS. 


PAGE 

Accessories,  General  Remarks  on  . . . , . *99 

Carpets  and  Table-Covers,  . . , , . . 102 

Curtains,  ..........  loi 

Furniture,  . . . . . . . . . 102 

Aerial  Effects,  obtained  by  Hatching 109 

Arms  and  Hands,  Painting  of  . . . . . . . 8i 

Backgrounds,  General  Remarks  on  .....  . 103 

Practical  Directions  for  Clouding, 108 

Landscape,  . . . . . . . . .114 

Opaque, no 

Pastel,  Colored  .114 

Gray,  for  India-Ink  Work,  : . . . . 112 

Breadth,  Definition  of  . . . . . • . . • 53 

Bronze,  How  to  Imitate  ........  98 

Brushes,  Kinds  of,  and  How  to  Select  ......  48 

For  Oil  Colors,  ........  167 

How  to  Hold  and  Use,  . . . . . » *53 

Practice  with  the  ........  59 

Carnation  Tints,  *63 

Ceramic  Painting,  Part  VI.,  .....  . .190 

Cheeks,  Painting  of  . . . . . . . . • 7^ 

China  Painting,  on  . . . 191 

Requisites  for, .191 

Classification  of  Pigments,  . . . . . . 193 

Designs  and  Subjects,  . . . . . • • I93 

Directions  for  Painting,  ...  . . , . 194 


X 


. CONTENTS. 


PAGE 


China,  Firing,  ...... 

198 

Chin,  Painting  of  ....  . 

. 

. 

, 

79 

Chromo-Photograph,  How  to  make 

177 

Directions  for  Coloring  . 

. 

. 

• 

178 

Colors  in  General,  ..... 

13 

Primary — Secondary — Tertiary, 

. 13-14 

Complementary,  .... 

15 

Diagram  of  . . . . 

16 

Characteristic  Effects  of  . . . 

16 

Relations  and  Harmonies  of  (in  rhyme), 

• 

18 

The  Repetition  of  ...  . 

• 

107 

Compound  Black,  and  how  to  Mix  it, 

• 

95 

Concerning  Photogi'aphic  Tones,  . . • 

27 

Contrast, 

20 

Of  Color  and  Tone,  .... 

• 

20 

Conclusion  to  Part  I.,  . . . 

• 

152 

Crayon,  How  to  Work  in.  Part  II., 

154- 

-160 

Crystal  Ivorytype,  ..... 

177 

Curtains,  Painting  of 

lOI 

Decoration  of  China,  .... 

199 

Decoration  of  Pottery,  .... 

• 

199 

Drapery,  General  Remarks  upon 

82 

Methods  of  Painting  the 

• 

85 

Selection  of  Colors  for  . 

83 

Yellow  Draperies,  .... 

• 

• 

90 

Red  Draperies,  .... 

90 

Blue  Draperies,  ..... 

• 

• 

92 

Green  Draperies,  .... 

93 

Orange  Draperies,  .... 

94 

Purple  Draperies,  .... 

93 

Black  Draperies,  .... 

95 

White  Draperies,  method  of  painting. 

88 

The  Browns, 

94 

The  Maroons,  ..... 

94 

Duplicate,  or  Guide  Print,  .... 

29 

Ears,  Painting  of  . . . • . 

80 

Enlarged  Copies, 

30 

Eyes,  Painting  of 

74 

Colors  for  the  various  kinds  of 

77 

Flesh  Washes,  for  Men 

62 

For  Women  and  Children,  . 

62 

CONTENTS. 


XI 


PAGE 

Framing  Pictures,  . * . 149 

General  Order  of  Paintingj 118-128 

Glazing,  in  Oil, 170 

Gold  Ornaments,  Painting  of 97 

Grays  for  Flesh, 65 

Gray  Pastel,  for  Ink  work,  . .112 

Gum  Water,  ..........  46 

Hair,  Painting  of 69 

Colors  for  the  various  kinds  of 71 

Handling  or  Manipulation,  . . , ...  . *53 

Hatching,  Directions  for  ........  56 

Head-Dress,  Colors  for 85 

Implements  and  Materials,  .......  49-51 

India-Ink  Work,  . . 129 

The  Proper  Photograph, 131 

Practical  Directions,  131 

Copied  Pictures, 134 

The  Use  of  Other  Pigments,  ......  136 

Introduction,  6 

Ivory  types,  The  Original 143 

The  Crystal,  How  to  Make 177 

Jewelry,  etc.,  Painting  of  . . 97 

Landscape  Backgrounds,  . . . . . . . . 114 

Light,  Arrangement  of  the  . . . . . . . *52 

Repetition  of  the  ........  107 

Lips  (Mouth),  Painting  of 79 

Manipulation  or  Handling,  53 

Megilp  (in  Oil),  .........  167 

Memoranda  of  Practical  Art, 202 

Neck  and  Bosom,  Painting  of  .......  80 

Normal  Gray,  14 

Oil  Colors,  Photographic  Painting  in.  Part  HI.,  ....  161 

The  Photograph,  Sizing  163 

Pigments  and  Vehicles, 166 

Necessary  Implements, 167 

Arrangement  of  the  Palette, 169 

Manipulation,  170 

Method  of  Painting, 171 

Cracking, 174 

Varnishing, 174 

Opaque  Backgrounds,  ....  . » . • IIO 


Xii  CONTENTS. 

PAGE 

Ox-Gall,  .46 

Painting,  General  Order  of 118-128 

Palette,  . 48 

Arrangement  of  Water-Colors,. 119 

Pastel  Backgrounds, HI-114 

Pearly  Tints  for  Flesh,  ........  65 

Photograph,  Concerning  the 26 

Porcelain  Painting, 138 

Correction  of  Errors, 141 

Adaptability  of  Subjects,  ......  141 

Portraiture,  Remarks  on  22-25 

Practice  with  the  Brush,  ........  59 

Precious  Stones,  Painting  of 98 

Pure  Water,  Necessity  of  using  ........  45 

Relief,  Methods  of  giving 106 

Retouching  the  Negative,  Part  V., 180 

Materials  and  Appliances, 181 

Preparation  of  the  Negative  Surface,  . . . . 183 

Manipulation,  . . . , . . . . .184 

Misconceived  Ideas, . 187 

Usefulness  for  Copies, 187 

Scumbling  in  Oil  Colors,  . 171 

Shadow  Cloud  in  Vignette  Pictures,  . . . . . .110 

Shadow  Color  for  Flesh,  ........  64 

Solar  Camera  Pictures, 147 

Stippling,  Directions  for  57 

Transparency  in  Flesh  Colors, 65,  120 

Tragacanth,  to  Prepare  for  Use,  . . , . . . . 179 

Touches,  • 67 

Varnishing  Pictures,  in  Oil 174 

Water  Colors,  List  of  31 

Qualities  and  Adaptations  ,of  . . . . . . 32-45 

Introduction  to  the  Use  of  . . , • . . 61 

Washing,  Directions  for  54 

White  aud  Black  as  Colors,  14 

Working  in  Crayon,  Part  II.,  . . . . ^ . 154-160 


lo¥  TO^AINT  J*HOTOGEAPHS. 


It  is  proposed  that  this  work  shall  serve  as  a guide  to  labor, 
rather  than  an  index  to  philosophy — to  teach  the  student  how  to 
do,  without  cumbering  his  mind  with  the  reasons  why. 

Hence,  it  will  be  expedient  only  to  briefly  record  here  certain 
recognized,  important  and  interesting  facts  respecting  the  nature 
of  colors,  and  recommend  to  the  student  a further,  and  more 
complete  investigation  of  colors— their  qualities,  and  innumera- 
ble effects  of  contrast  and  harmony — as  it  can  be  found  in  books 
specially  devoted  to  this  subject. 


^Principal  Classifications, 

Notwithstanding  the  assertions  of  the  old  philosophies  about 
the  ‘ ‘ seven  primary  colors, ''  there  are  indeed  but  three,  viz. , 


and  these  are  termed  Primary  (or  Simple)  colors,  because  they 
are  the  source  whence  all  others  are  derived  by  mixture. 


FIFTH  EDITION. 


Red — Y ellow — Blue, 


14 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  combination  of  any  two  of  these,  in  equal  parts,  produces 
another  class  termed  Secondary  (or  Compound )yo\oY^.  Thus  : 

Red  and  Y ellow  make  Orange, 

Yellow  and  Blue  make  Green, 

Blue  and  Red  make  Purple. 

A further  combination,  in  pairs,  of  the  Secondary  produces  a 
third  class  designated  Tertiary  (or  Mixed ) colors.  Thus  : 

Green  and  Orange  make  Citron,  or  Citrine, 

Orange  and  Purple  make  Russet, 

Purple  and  Green  make  Olive  ; 

each  of  which  is  variously  compounded  of  the  three  original  or 
primary  colors — as  the  secondary  order  is  of  two — one  of  the 
primaries,  however,  predominating. 

A fourth  class  may  be  added,  and  designated  Irregular  Colors  ; 
under  which  head  is  included  the  long  list  of  browns,  grays,  va- 
rious neutral  tints,  drabs,  stone  colors,  etc.  These  have  also  re- 
ceived the  name  of  Semi-neutral  Colors. 

It  will  be  observed  that  whilst  each  combination  of  two 
primary  colors  produces  a new  and  perfect  hue,  each  subsequent 
combination  tends  to  produce  neutrality  ; the  neutral  tints  form- 
ed partaking,  however,  more  or  less  of  the  special  characteristics 
of  the  primaries  to  which  they  are  most  allied. 

White  and  Black,  which  most  completely  contrast  as  light  and 
darkness,  are  not  generally  regarded  as  colors  : White,  as  the 

representation  of  pure  daylight  in  its  undivided  state,  being  sup- 
posed to  represent  a combination  of  all  colors  ; and  Black,  like 
darkness,  or  the  absence  of  both  color  and  light.  However, 
they  hold  an  important  place  in  almost  every  picture,  having 
their  own  effect,  when  in  combination  with  other  colors. 

Normal  Gray  is  black  mixed  with  white  in  various  propor- 
tions, originating  numerous  tones  of  pure  gray.  Grays  also  re- 


COMPLEMENTARY  COLORS. 


15 


suit  from  the  mixture  of  all  three  primaries  in  various  propor- 
tions, and  these  are  designated  Colored  grays. 

Complementary  Colors. 

A mixture  of  any  two  of  the  primary  colors,  forming  a second- 
ary, this  secondary  is  complementary  to  the  remaining  primary 
color.  Thus, 

Orange,  produced  by  Red  and  Yellow,  is  complementary  to  Blue  j 

Green,  “ Yellow  and  Blue,  “ Red; 

Purple,  “ Blue  and  Red,  “ Yellow. 

The  combination  of  any  two  secondary  colors  will  produce  a 
tertiary,  which  is  complementary  to  the  remaining  secondary. 
Thus, 

Citrine,  produced  by  Orange  and  Green,  is  complementary  to  Purple ; 

Olive,  “ Green  and  Purple,  “ Orange; 

Russet,  “ Purple  and  Orange,  “ Green. 

These  combinations  may  be  carried  to  an  almost  unlimited 
extent  with  similar  results  ; for  this  relation  of  colors  is  not  arbi- 
trary, nor  the  result  of  taste  or  fancy ; but  it  is  founded  upon 
absolute  inherent  principles  which  exist  as  a physical  necessity 
of  the  organs  of  vision. 

Black  and  White  are  alsp  to  be  regarded  as  complementary 
to  each  other. 

We  have  thus  far  explained  the  term  “complementary”  with 
reference  only  to  colors  in  their  primary  signification — treating 
red,  yellow,  and  blue,  without  regard  to  the  various  gradations 
of  hue  which  each  color  possesses.  But  the  principle  which 
governs  the  relations  of  the  simple  primaries  applies  also  to 
every  variety  and  combination  of  tint ; and  which  could  be 
multiplied  by  gradations  so  delicate  that  it  would  be  impossible 
to  enumerate  them. 

The  following  diagram  of  the  complementary  relations  of  col- 
ors is  furnished  as  a ready-reference  for  the  student,  and  is  sub- 
divided far  enough  for  ordinary  purposes. 


i6 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  complementary  of  each  color  will  be  found  in  the  angle 
directly  opposite  : whilst  it  will  be  observed  that  each  pair  yields 
a harmonious  balance  of  three  primary  colors. 


Peculiar  Characteristics  of  Colors. 

The  primary  colors  are  suggestive  of  various  ideas,  according 
to  particular  circumstances.  Thus,  painters  have  agreed  to  call 
red  and  yellow  and  their  mixtures  warm — giving  notions  of  light 
and  heat.  They  also  come  near  the  eye,  and  are  less  impaired 
by  distance  than  any  other  colors ; yellow  less  than  red,  and 
green  less  than  purple. 

Red  is  the  most  powerful,  distinct,  and  exciting  of  all  colors ; 
stimulates  the  eye,  and  predominates  over  all  colors  designated 
warm. 


PECULIAR  CHARACTERISTICS  OF  COLORS. 


17 


Yellow  is  the  primary  most  closely  allied  to  light. 

Blue,  and  those  tints  of  which  the  larger  portion  is  blue,  sug- 
gests an  idea  of  coldness  and  distance. 

Of  the  Secondaries  : Orange  being  the  most  luminous  is  the 
most  striking  and  prominent ; the  connecting  link  of  harmo- 
nizing color  between  yellow  and  red. 

Green  is  generally  considered  the  mean  between  orange  and 
purple,  thus  taking  position  between  light  and  shade.  It  is  the 
most  soothing  and  refreshing,  although  a preponderance  of  it  is 
scarcely  ever  truly  pleasant. 

Purple,  coolest  and  darkest  of  the  secondaries,  partakes  con- 
siderably of  the  retiring  qualities  of  its  chief  primary,  blue.  Next 
to  green  it  is  the  least  fatiguing  to  the  eye  ; and  its  various  com- 
pounds afford  most  of  the  colored  grays. 

The  plan  most  generally  adopted  is,  that  the  warm  colors 
should  always  be  placed  at  the  front,  as  having  a tendency  to 
impress  the  eye  more  strongly,  or  to  come  more  prominently 
forward  than  the  colder  colors  ; but  union  and  harmony  require 
that  some  intermixture  of  warm  color  should  be  put  in  the  back- 
ground, and  of  cold  into  the  front. 

The  lighter  colors  also  brighten  those  of  a deeper  kind ; as 
white  or  yellow,  put  with  red  or  blue,  renders  these  more  lively. 
If  intermixed  with  them  it  diminishes  their  depth. 

There  are  also  colors  which  diminish  each  other’s  effect  and 
deaden  a neighboring  one  ; others  again  raise  the  force  of  those 
with  which  they  are  combined — as  white  heightens  the  rose-tint 
of  the  face,  and  as  a red  turban  would  suit  an  Ethiopian. 

Colors  also  suit  each  other  from  the  one  being  warm  and  the 
other  cold  ; as  red  and  blue,  orange  and  blue,  brown  and  blue  ; 
and  yet  two  colors  sometimes  harmonize  with  each  other,  as  blue 
and  white,  when  both  are  cold. 

White  increases  the  intensity  of  black  by  contrast,  as  black 
adds  to  the  brilliancy  and  distinctness  of  white ; and  though 
white  makes  a red  face  look  redder,  it  increases  the  paleness  of 
a pale  complexion.  Black,  too,  has  a similar  effect. 


HOW  TO  PAJNT  PHOTOGRAPHS. 


Some  colors  disagree  from  their  being  positive  discords  ; some 
fail  to  accord  with  each  other  from  their  tones  being  of  unequal 
intensity,  some  from  their  proportions  in  quantity  being  too 
much  disregarded,  and  some  from  wanting  another  color  to 
complete  the  harmonious  combination. 


As  an  appropriate  and  entertaining  conclusion  to  the  entire 
subject  of  the  relations  and  harmonies  of  colors,  we  append  the 
following  lines,  which  aptly  embody  the  principles  contained  in 
this  division  of  study.  Versification  being  an  acknowledged 
help  to  memory,  the  ideas  contained  in  these  lines  may  be  easily 
caught  and  kept  ever  present  in  the  student’s  mind. 

TJie  Melations  and  Sarmonies  of  Color. 

BY  HENRY  HOPLEY  WHITE,  ESQ. 

Blue — Yellow — Red — pure  simple  colors  all 
(By  mixture  unobtained)  we  Primaries  call; 

From  these  in  various  combinations  blent, 

All  other  colors  trace  their  one  descent. 

Each  mixed  with  each — their  powers  combined  diffuse 
New  colors — forming  Secondary  hues ; 

Yellow  with  red  makes  Orange^^x^  blue — Green^ 

In  blue,  with  red  admixed  is  Purple  seen. 

Each  of  these  hues  in  Harmony  we  find, 

When  with  its  complementary  combined  ; 

Orange  with  blue,  and  green  with  red,  agrees. 

And  purple  tints,  near  yellows,  always  please. 

These  secondaries  Tertiaries  produce. 

And  Citrine — Olive — Russet  introduce  : 

Thus  green  with  orange  blended  forms  citrine. 

And  olive  comes  from  purple  mixed  with  green ; 

Orange,  with  purple  mix’d,  will  russet  prove  ; 

And,  being  subject  to  the  rule  above, 

Harmonious  with  each  tertiary  we  view 
The  complemental  secondary  hue  : 

Thus  citrine — olive — russet  harmonize 
With  purple — orange — green,  their  true  allies. 


RELATIONS  AND  HARMONIES  OF  COLOR. 


19 


These  hues,  by  white  diluted,  Tints  are  made, 
By  black  are  deepened  into  darkest  Shade. 

Pure  or  combined,  the  primaries  all  three, 

To  satisfy  the  eye,  must  present  be ; 

If  the  support  is  wanting  but  of  one, 

In  that  proportion  harmony  is  gone  : 

Should  red  be  unsupported  by  due  share 
Of  blue  and  yellow  pure — combined  they  are 
In  green — which  secondary,  thus  we  see. 

The  harmonizing  medium  of  all  three. 

Yellow  for  light  contrasts  dark  purple’s  hue. 

Its  complemental,  form’d  of  red  and  blue. 

Red  most  exciting  is — let  Nature  tell 

How  grateful  is,  and  soothing^  green’s  soft  spell. 

So  blue  retires — beyond  all  colors  cold, 

While  orange  warm — advaitcing  you  behold. 
The  union  of  two  primaries  forms  a hue. 

As  perfect  and  decided  as  ’tis  new  j 
But  all  the  mixtures  which  all  three  befall 
Tend  to  destroy  and  neutralize  them  all ; 

Nay,  mix  them — three  parts  yellow — five  of  red, 
And  eight  of  blue — then  colors  all  are  fled. 
When  primaries  are  not  pure — you’ll  surely  see. 
Their  complementals  change  in  due  degree ; 

If  red  (with  yellow)  to  a scarlet  tend. 

Some  blue  its  complemental  green  will  blend ; 
So  if  your  red  be  crimson  (blue  with  red). 

Your  green  with  yellow  would  be  varied ; 

If  yellow  tends  to  orange,  then  you  find 
Purple  (its  complement)  to  blue  inclined  ; 

But  if  to  blue  it  leans,  then  mark  the  change. 
Nearer  to  red  you  see  the  purple  range. 

If  blue  partakes  of  red — the  orange  then 
To  yellow  tends  ; if  yellowish — you  ken 
The  secondary  orange  glows  with  red. 

Reader,  farewell ! my  lesson  now  is  said. 


Is  the  source  of  all  character  and  effect  in  color,  as  in  every 
other  division  of  the  art.  No  tint  will  appear  very  bright  unless 
set  off  by  an  opponent,  and  by  this  treatment  effect  may  be  given 
to  any  color ; but  the  shadows  must  all  partake  of  the  same 
negative  tone,  and  that  should  be  the  natural  antagonist  of  the 
general  hue  of  the  light,  which  again  must  be  gently  diffused 
over  local  colors,  in  order  to  tinge  with  the  same  atmosphere, 
and  give  truth  and  union  to  the  whole. 

The  matter  of  Contrast  embraces  several  points,  but  it  will 
suffice  here  to  mention  only  Contrast  of  Color,  and  Contrast  of 
Tone  or  intensity. 

Contrast  of  Color. 

By  this  it  is  meant,  that  complementary  colors  placed  in  juxta- 
position mutually  enrich  each  other ; and  from  the  same  cause, 
neutral  tints  placed  in  juxtaposition  with  full  hues  appear  to  be 
tinged  with  the  complementary  color  of  such  hues.  The  con- 
verse is  equally  true  : that  colors  not  complementary  to  each 
other  are  mutually  injured  by  contact.  It  is  obvious,  therefore, 
that  neutral  tints  placed  in  contact  with  full  hues,  should  incline 
to  the  complementary  of  such  hues,  in  order  to  produce  the 
best  effect. 

Contrast  of  Tone 

Results  from  placing  side  by  side  two  tints  of  the  same  color, 
but  of  different  degrees  of  intensity  or  depth  ; from  which  the 
deep  tint  will  appear  still  deeper,  and  the  light  tint  still  lighter 


CONTRAST  OF  TONE. 


21 


— the  difference  in  intensity  appearing  greatest  at  the  points  of 
contact.  All  colors  gain  depth  by  contact  with  White,  the  white 
assuming  the  complementary  tint  of  the  color  near  to  it ; whilst 
Black  has  the  effect  of  weakening  colors  contiguous  to  it.  The 
juxtaposition  of  Gray,  which  is  a mixture  of  white  and  black, 
gives  brilliancy  to  all  pure  colors. 

Therefore,  the  student  will  see  that  he  has  the  power  of  chang- 
ing the  very  characteristics  of  pigments  by  simple  juxtaposition  ; 
he  can  either  enhance  the  value  of  both,  or  sacrifice  one  and 
exalt  the  other ; and  in  cases  where  a pleasing  ensemble  is  not 
presented  by  his  model,  he  can  adapt  the  colors  he  is  at  liberty 
to  choose  to  those  which  are  inherent  in  the  model,  so  as  to  ar- 
rive at  a satisfactory  and  harmonious  effect. 

Without  pursuing  this  subject  beyond  the  limits  of  these  gen- 
eral principles — (as  we  might,  and  show  that  an  infinity  of 
pleasing  results  can  be  obtained  by  the  judicious  arrangement  of 
analogous  tints  in  harmonious  relations) — the  student  is  advised 
to  a further  examination  of  those  works  which  treat  upon  the 
science  of  colors,  minutely  and  philosophically.  For  this  reason, 
space  has  not  been  occupied  to  explain  why  these  things  are  so  ; 
it  is  our  aim  to  make  this  book  a simple  guide  to  practical  work- 
ing, and  not  an  exposition  of  philosophical  color-mysteries. 


Likeness  is  the  very  essence  of  portraiture.  Whatever  may 
be  the  artistic  merits  of  a painting  which  is  intended  to  rep- 
resent the  countenance  and  figure  of  a valued  friend,  its  great- 
est perfection  must  exist  in  its  correct  likeness.  Our  personal 
affections  will  always  bid  defiance  to  any  rivalry  from  art  ; 
and  hence  an  ordinary  but  correct  portrait  will  elicit  our  ad- 
miration and  love,  whilst  one  lacking  this  essential  point  would 
be  disregarded. 

There  is  not  one  person  in  the  world  who  has  not  a par- 
ticular characteristic  both  in  face  and  body.  This  will  be  pat- 
ent in  the  drawing  of  the  photograph  itself ; and  while  the  cam- 
era produces  nature  truthfully — perhaps  too  much  so  for  mortal 
vanity  in  general — the  artist’s  office  is  to  impart  life  and  color. 
To  adorn  nature  too  much  is  doing  a violence.  We  can  imi- 
tate her  with  sufficient  exactness,  however,  and  still  perceive  and 
comply  with  what  is  advantageous  in  art. 

It  is  scarcely  proper  to  undertake  the  coloring  of  a photo- 
graphic portrait  without  first  seeing  the  original ; or  if  that  is 
impossible,  of  ascertaining  fully  the  principal  colors  to  be  used. 
Owing  to  the  shade  of  blackness  with  which  the  various  colors 
‘ ' take,  ” the  photograph  itself  gives  very  little  or  no  indication 
on  many  points.  Therefore,  if  practicable,  secure  a lock  of  the 
hair  ; understand  by  an  interview  with  the  original  or  from  the 
remembrance  of  others,  the  exact  color  of  the  eyes  ; kind  of 
complexion  ; defects  or  peculiarities  of  countenance  and  figure  ; 
what  alterations  and  corrections  are  desired  ; colors  for  the 


PORTRAITURE. 


23 


drapery ; what  sort  of  jewelry,  et  cetera.  In  short,  remember 
that  knowledge  and  a full  understanding  of  the  subject  makes 
work  pleasant  and  easy ; and  he  who  knows  the  road  gets  to 
his  journey’s  end  with  more  speed  and  certainty  than  he  who, 
through  ignorance  or  carelessness,  gropes  it  out 

In  accomplishing  a photo-portrait,  the  student  should  keep 
in  mind  a union  of  the  true  and  the  beautiful.  However  cor- 
rectly the  camera  may  have  attained  the  former,  it  has  not 
intelligence  to  discriminate  and  perfect  the  latter.  The  stu- 
dent should  derive  from  his  subject  a feeling  peculiar  to  the 
work  before  him.  He  must  not  paint  all  alike,  and  should 
avoid  the  fault  of  mannerism.  In  painting  children’s  pictures, 
for  instance,  he  will  rather  feel  at  liberty  to  idealize  them — - 
to  make  them  appear  somewhat  beautiful  and  picturesque 
whether  they  are  so  or  not — and  this  license,  to  a certain  de- 
gree, may  be  extended  also  to  pictures  of  women,  unless  the 
photograph  should  render  it  impossible.  With  men’s  faces, 
on  the  contrary,  the  feeling  should  change  ; inspiration  for 
the  beautiful  should  give  place  to  zeal  for  the  delineation  of 
vigor  and  strength — giving  a true  portrait,  while  portraying  a 
distinct  character. 

It  may  be  remarked  that  the  power  of  masculine  expression 
lies  in  the  forehead,  the  under  lip,  the  chin,  and  of  course  in 
the  graver  language  of  the  eye.  The  sweetness  of  the  feminine 
graces  resides  in  the  mouth  and  eyes  ; especially  at  the  ex- 
terior corners  of  and  below  the  eyes,  at  the  corners  of  the 
mouth,  and  in  the  play  of  the  lower  lip.  To  hit  the  happy 
medium  in  the  distinctive  treatment  of  masculine  and  femi- 
nine faces  i*s  perhaps  the  greatest  excellence  in  the  art.  In 
the  former  the  student’s  aim  should  be  to  maintain  that  qual- 
ity of  intelligence  which  is  distinctive  of  the  original,  without 
falling  into  severity ; in  the  latter,  the  object  should  be  to  en- 
dow the  photographic  representation  with  vitality  and  sweet- 
ness, without  carrying  his  work  beyond  the  reasonable  limits 
of  delicacy  and  beauty.  • 


24 


HOW  TO  PAINT  PHOTOGRAPHS. 


A little  experience  in  photographic  painting  will  also  intro- 
duce to  the  beginner  a class  of  persons  who  may  insist  upon 
the  correctness  of  the  camera,  and  wish  to  be  painted  as  they 
are  — (or,  as  Cromwell  said,  ‘ ‘ Paint  me  as  I am  : warts, 
wrinkles,  and  all  !”) — desiring  no  changes  and  wishing  to  see 
their  veritable  selves  without  flattery  or  qualification.  It  may 
not  be  improper  to  intimate  here  that  these  persons  will  be 
found  ‘ ‘ indifferent  honest  ” after  all  ; and  that  where  the 
artist’s  better  judgment  suggests  improvement  which  shall  not 
impair  the  likeness  as  a whole,  it  will  not  be  complained  of  as 
objectionable. 

While  the  license  of  art,  however,  permits  a representation 
as  favorable  as  possible  to  the  original,  there  is  yet  a limit  to 
this  complimentary  work  which  should  be  defined  by  the  pe- 
culiarities of  each  case.  In  instances  of  personal  imperfection, 
if  a sufficient  portrait  can  be  preserved  without  signalizing  the 
natural  blemishes  which  the  relentless  camera  has  reproduced, 
it  is  consistent  with  the  rules  of  legitimate  practice  to  subdue 
them  ; but  this  must  be  done  with  great  discretion,  for  they 
often  comprise  the  very  climax  of  individuality.  Hollow  cheeks, 
a long  mouth,  a protruding  under  lip,  angular  shoulders  and 
elbows,  bony  hands,  etc.,  will  very  frequently  demand  round- 
ness and  subjection  to  more  agreeable  shape. 

It  may  also  sometimes  occur  that  alterations,  which  are  de- 
manded by  every  principle  of  correct  art  cannot  be  made,  and 
should  not  be  attempted^  unless  after  consultation  with  those 
who  are  to  receive  the  finished  work.  This  will  be  found  more 
especially  the  case  in  reproducing  old  pictures  : these  very  fault? 
which  may  appear  rather  hideous  to  our  more  artistic  eyes,  have 
become  in  time  part  and  parcel  of  the  picture  itself ; and  noth- 
ing different  from  an  exact  copy  of  the  long-looked-at  original 
would  be  satisfactory.  Very  often,  too,  the  original  will  prove 
to  have  been  so  badly  taken,  that  it  does  not  furnish  sufficient 
basis  for  much  work  accordmg  to  art ; in  which  case  the  student 


PORTRAITURE. 


25 


will  perceive  that  his  touches  must  be  few,  but  correct,  and  that 
just  as  soon  as  the  likeness  is  reached  his  labor  on  the  face  must 
cease.  Unfortunately,  the  deficiency  of  knowledge  among  a 
majority  of  the  daguerreotypists  of  a former  day  has  been  the 
cause  of  much  trouble  of  this  kind  to  the  photograph  painters 
of  the  present. 

The  propriety  of  the  above  chapter  on  the  subject  of  Portraiture 
may  not  have  been  at  once  apparent — this  work  being  designed  as  a guide 
to  the  painting  of  photographs  ; and  particularly,  when  it  is  remembered 
that  the  portrait  has  already  become  a fixed  fact  by  the  operation  of  the 
camera  in  the  hands  of  the  photographer.  It  is  also  true  that  ignorance 
of  the  art-elements,  in  producing  the  photographic  image,  cannot  be  atoned 
for  by  any  superior  intelligence  of  the  painter.  But  certain  emergencies 
must  be  provided  for,  and  the  student  will,  as  he  progresses,  find  it  to  be 
actually  necessary  to  possess  himself  with  knowledge  on  the  subject  of 
portraiture,  perhaps  much  beyond  these  cursory  observations ; that  is,  if 
it  is  his  purpose  to  accomplish  fully  and  satisfactorily  the  art  of  photo- 
portrait painting. 


2 


General  Characteristics. 

If  it  were  possible  for  all  photographs  to  be  made  possessing 
the  same  degree  of  tone  or  shade  of  blackness,  it  would  be  an 
easier  task  to  guide  the  student  in  the  use  of  those  colors 
applicable  to  the  various  parts  of  the  picture.  But  the  reverse 
of  this  is,  unfortunately,  the  condition  of  things  with  which  we 
have  now  to  deal ; and  even  an  approximation  to  so  desirable 
a state  of  photography  as  that  first  mentioned  is  the  lot  of  such 
only  who  paint  for  pleasure,  and  who  are  at  liberty  to  select  the 
prints  upon  which  they  intend  to  work. 

Those,  however,  who  undertake  this  art  professionally,  will 
perhaps  be  called  upon  to-day  to  color  a photograph  that  may 
be  dark  as  night ; and  to-morrow  another  as  light  as  noonday. 
In  one  the  gradation  of  middle-shadows  may  be  lost  in  black- 
ness, and  in  the  other  there  may  be  a total  deficiency  of  shades 
from  over-intensity. 

Happily  the  days  of  intense”  negatives — the  whites  too 
white,  and  the  blacks  too  black — have  nearly  ended,  and  given 
place  to  a desire  for  thinner  negatives  intended  to  be  printed 
in  the  shade  ; by  which  the  colorist  is  afforded  the  presence 
and  advantage  of  a succession  of  intermediate  shades  which  the 
former  order  of  things  knew  not. 

It  must  be  obvious  that  photographs  intended  for  coloring 
should  nothQ  made  intense.”  No  photographer  should  com- 
pel the  artist  to  do,  without  the  sitter  (and  photograph  painters 
very  rarely  have  sitters  !)  what  the  camera  and  chemicals  should 


GENERAL  CHARACTERISTICS. 


27 


be  made  to  do  with  him ; that  is,  to  supply  those  half-shades 
which  characterize  the  original.  Oversight  in  this  particular 
only  jeopardizes,  whilst  care  and  attention  would  guarantee  the 
success  of  their  united  labors. 

In  addition  to  such  deficiencies  and  extreme  contrasts  of 
shade  may  be  mentioned  improprieties  of  tone — that  is,  the  pres- 
ence of  actual  tints  of  purple,  brown,  indigo,  and  dirty  red  ; or 
yellow,  by  discoloration. 

When  the  choice  of  the  photograph  is  optional,  we  would  ad- 
vise the  selection  of  a rather  light  one  in  preference  to  one  very 
dark,  as  the  former  shows  up  the  colors  to  greater  advantage, 
and  is  devoid  of  obstacles  to  the  purity  of  your  work.  If  its 
general  tone  be  neutral — ^gray — it  approximates  that  much 
nearer  the  basis  which  would  be  had  upon  clean  paper,  and 
consequently  fewer  hindrances  are  interposed.  It  should  be 
well  defined,  having  the  middle  tones  and  shadows  clear,  the 
background  free  from  blemishes  which  cannot  be  touched  out 
smoothly,  and  should  be  indeed  a good  photograph, — a thing 
almost  indispensable  for  beginners. 

Due  attention  should  also  be  given  to  the  suitableness  of  the 
photograph  to  the  complexion  and  hair  of  the  person  ; one 
heavy  and  dark-toned  should  not  be  used  for  a fair  complexion 
and  light  hair,  else  it  may  necessitate  the  use  of  body  color, 
which  is  very  objectionable.  If,  on  the  contrary,  the  complex- 
ion and  hair  of  the  original  be  dark,  the  difficulty  is  consider- 
ably lessened ; for,  upon  the  application  of  the  warm  colors, 
these  heavy  photographic  tones  decrease  in  depth,  and  frequent- 
ly assume  a desirable  shadow-color.  Photographs  of  women 
and  children  should  in  general  be  lighter  than  those  of  men,  in 
order  that  their  characteristic  softness  may  be  preserved  and 
more  -delicacy  and  beauty  attained  in  the  painting. 

When  the  choice  is  not  optional — and  especially  when  the 
photograph  is  a copy — the  print  should  be  made  and  toned  ac- 
cording to  the  desire  of  the  artist.  He  is  always  best  able  to  fore- 
see what  kind  of  a picture  it  is  practicable  to  make,  and  his 


28 


HOW  TO  PAINT  PHOTOGRAPHS. 


judgment  should  prevail.  He  can  tell  beforehand  what  obsta- 
cles can  be  overcome  or  what  seeming  drawbacks  can  be  turn- 
ed to  good  account.  If  the  photograph  is  to  have  a solid 
background  he  may  be  able  to  work  to  suit  it ; but  suppose  it 
is  a vignette  to  be  worked  in  India-Ink,  where  the  higher 
lights  in  the  face  are  brought  necessarily  into  comparison  with 
the  surrounding  pure  white  paper — if  the  print  be  toned  a dirty 
red,  or  brown,  it  will  be  impossible  to  restore  the  face  to  any- 
thing like  the  clearness  and  brilliancy  which  would  have  result- 
ed from  working  upon  a neuiral-toned  print. 

From  the  foregoing  it  is  reasonable  to  conclude,  that  in  all 
cases  where  it  is  a matter  of  choice,  the  Artist,  and  not  the  pho- 
tographer, is  the  person  to  decide  also  upon  the  style  of  a pic- 
ture. Upon  viewing  the  plain  print  his  mind  will  naturally  in- 
vestigate it  with  a view  to  the  location  of  color  ; he  will  perceive 
an  opportunity  here  which  can  be  ‘ ‘ complemented  there  ; the 
introduction  of  a few  little  accessories ; the  laying  out  of  the 
background  ; the  transformation  (if  it  is  a copy)  of  some  un- 
sightly and  inappropriate  matter  into  ‘ ‘ the  right  thing  in  the 
right  place  and  many  other  points  which  his  invention  and 
experience  would  properly  suggest.  He,  too,  knows  best  the 
resources  of  the  various  styles,  and  from  which  the  picture  in  hand 
will  derive  the  greatest  advantage.  Hundreds  of  pictures  are 
unjustly  treated  because  of  the  improper  selection  of  its  style ; 
too  many  are  done  in  India-Ink  that  naturally  demand  color, 

• — and  vice  versa. 

When  two  or  more  copies  of  the  same  person  are  to  be  work- 
ed up,  it  is  best  to  select  the  entire  number  of  prints  beforehand, 
so  that  they  shall  all  correspond  in  depth  and  tone,  and  the  same 
basis  be  presented  in  each  for  the  color  or  Ink.  If  the  first 
completed  picture  is  satisfactory  your  patron  will  most  likely 
want  all  to  be  just  like  it,  which  would  scarcely  follow  if  the 
prints  themselves  were  dissimilar  ! 


DUPLICATE,  OR  GUIDE  PRINT. 


29 


Duplicate^  or  Guide  JPrint. 

The  student  who  looks  forward  to  the  coloring  of  photographs 
as  a life-profession  may  expect  to  work  upon  specimens  of  all 
grades,  and  many  times  with  but  one  copy  in  hand.  It  is  not 
always  practicable  to  assist  his  labors  by  the  aid  of  the  original, 
or  even  a duplicate  picture. 

The  advantage  of  having  the  duplicate,  however,  is  very  con- 
siderable, and  it  is  a good  rule  to  insist  if  possible  upon  one  be- 
ing furnished  with  the  picture  to  be  worked  up.  In  doing  large 
photographs  it  may  be  considered  positively  necessary  to  have  the 
head,  if  nothing  more ; since,  owing  to  the  greater  breadth  of 
line  and  depth  of  shadow,  there  is  a constant  liability  to  some- 
what alter  the  direction  of  the  one  or  to  misapprehend  the  other. 
Especially  is  this  duplicate  essential  in  working  Solar  pictures, 
in  which  the  definiteness  of  a contact  print  is  wanting,  and 
where  the  diffusion  of  line  is  so  much  greater  than  that  which 
it  is  designed  the  pencil  shall  reproduce. 

The  expression  of  the  eye,  the  line  of  the  mouth,  and  other 
points  which  indicate  the  likeness,  may  be  endangered,  uncon- 
sciously, even  when  great  care  has  been  exercised  ; but  the  du- 
plicate, changeless  before  the  student's  eye,  is  a preventive  that 
should  be  acknowledged  and  used. 

Sometimes  the  gentler  lines  and  undulations  of  the  flesh  or 
drapery  disappear  to  quite  an  extent  beneath  the  wash  of  local 
color,  and  would  be  lost  beyond  recovery  but  for  the  assistance 
of  the  duplicate. 

It  is  preferable  also  to  have  the  duplicate  made  on  albumen 
paper,  because  its  finer  surface  is  more  likely  to  secure  from  the 
negative  those  delicate  markings  which,  on  the  ‘ ‘ plain  " paper, 
do  not  appear  at  all,  and  which  may  serve  very  important  ends 
in  accomplishing  the  portrait. 

Furthermore,  the  duplicate  picture  is  your  authority  for  all 
that  has  been  done,  and  in  the  event  of  harsh  criticism  upon 


30 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  finished  work,  or  denial  of  its  correctness,  it  settles  the  case 
and  ^ ‘ makes  assurance  doubly  sure. 

Enlarged  Copies. — In  working  up  copies  which  have  been 
enlarged  from  ambrotypes,  cartes  de  visite,  etc. , it  will  not  do  to 
be  guided  wholly  by  a duplicate  print  of  the  enlargement.  Al- 
though it  may  serve  to  elucidate  portions  of  the  original  which 
would  otherwise  have  remained  in  darkness  to  the  student's 
eye,  it  is  not  unlikely  that  this  very  clearing  up  and  making 
plain  may  induce  a preciseness  of  delineation  that  will  lead  the 
eye  and  hand  astray,  and  produce  a result  which  as.  a whole 
will  not  satisfy  or  please. 

To  be  successful^  the  enlarged  copy  after  being  worked  upon, 
must  preserve  and  furnish  to  your  patron's  eye  the  same  general 
effect  as  is  produced  by  looking  at  the  small  original ; and  hence 
it  is  plain  that  whatever  detail  (imperceptible  in  the  original, ) 
necessarily  ensues  in  the  enlargement,  it  should  not  be  done  in 
too  strict  a manner  or  in  any  way  to  arrest  attention.  As  the 
original  would  look  in  the  hand,  so  must  the  finished  picture 
appear  when  hung  upon  the  wail. 

The  student  is  therefore  advised  to  get  his  impressions  from 
the  original^  and  his  drawing  from  the  duplicate. 


The  List  of  Colors. 


The  Water  Colors  used  in  the  operation  of  painting  a pho- 
tograph should  be  selected  with  care,  and  from  those  known  to 
be  of  superior  manufacture.  Each  one  should  be  a good  type 
of  the  pigment,  for  they  not  only  differ  as  prepared  by  dif- 
ferent color-men,  but  even  from  the  same  house  at  various 
times. 

The  number  of  colors  to  be  employed  will,  of  course,  depend 
much  upon  the  option  and  the  ability  of  the  student.  Certain 
colors  are  at  once  indispensable,  whilst  others,  of  a secondary 
importance,  can  be  procured  as  his  knowledge  increases  and 
the  desire  or  necessity  occurs. 

Those  which  may  be  regarded  as  essential  at  the  very  be- 
ginning and  of  constant  and  important  use  in  all  the  future, 
are  as  follows  : 


The  colors  which,  in  time,  become  desirable  for  use,  and 


Burnt  Sienna, 
Chinese  White, 
Cobalt  BluCy 
Crimson  Lake, 
Dragon’s  Blood, 
French  Blue, 
India  Ink, 
Indigo, 

Indian  Red, 
Indian  Yellow, 


Lampblack, 
Neutral  Tint, 
Pink  Madder, 

Raw  Sienna, 
Scarlet  Vermilion. 
Sepia, 

Vandyke  Brown, 
Venetian  Red, 

V ermilion. 

Yellow  Ochre. 


32 


HOW  TO  PAINT  PHOTOGRAPHS. 


whose  effect,  in  some  instances,  no  mixture  of  those  above- 
mentioned  will  exactly  produce,  are  as  follows  : 


Bistre, 

Brown  Pink,* 
Burnt  Umber, 
Cadmium  Yellow,* 
Carmine,* 

Emerald  Green,* 
Flake  White,* 
Gamboge, 

Lemon  Yellow,* 
Light  Red, 

Madder  Brown, 


Orange  Chrome, 
Olive  Green,* 
Prussian  Blue, 
Prussian  Green,* 
Purple  Lake,* 
Purple  Madder,* 
Raw  Umber, 
Roman  Ochre, 
Roman  Sepia, 
Rose  Madder,* 
Scarlet  Lake.* 


Colors  marked  thus  (*)  are  valuable  for  convenience  only, 
and  for  the  obtaining  of  special  results.  There  are  also  other 
pigments  commonly  known  and  often  used,  but  of  doubtful 
character  as  to  permanency  and  working  qualities,  and  there- 
fore not  suitable  to  our  purpose. 

In  addition  to  colors  the  student  should  be  provided  with 
hard  and  soft  Pastel,  colored  and  gray ; and  some  colored  pen- 
cils (Creta  Lavis)  in  cedar  wood. 

It  may  be  well  also  to  advise,  that  as  the  cakes  of  color  lose  some- 
what of  their  freshness  by  constant  exposure  to  the  air  and  light,  becom- 
ing dry  and  easily  crumbled,  they  should  be  kept  in  a covered  box.  One 
that  is  flat  answers  best,  and  shpuld  have  a hinged  lid  for  convenience. 

Their  Qualities  and  Adaptations, 

Concerning  the  water  colors — a list  of  which  has  been  given 
already — it  is  very  necessary  to  inform  the  student  respecting 
some  of  their  more  prominent  characteristics  and  particular 
uses.  While  these  directions,  obtained  from  the  experience  of 
others,  may  serve  as  a basis  of  operations,  the  student  is  still 
expected  to  complete  the  work  by  his  own  practical  discoveries. 
In  so  doing,  he  will  be  surprised  to  find  that  the  uses  of  a col- 
or upon  clean  white  paper  cannot  always  be  taken  as  a criterion 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS. 


33 


for  its  application  to  a photograph  ; and  also,  that  the  photo- 
graphic base  will  sometimes  totally  defeat  an  effect  which,  on 
white  paper,  would  be  easily  achieved.  Hence,  beyond  all 
here  written,  there  remains  necessarily  a conclusion  which  he 
must  attain  to  complete  the  purpose  of  this  chapter. 

Having  already  classified  the  colors  with  respect  to  their  im- 
portance and  desirableness,  they  will  be  referred  to  in  alphabet- 
ical order,  as  follows  : 

Bistre. — A fine  brown  color  that  washes  well,  is  permanent, 
and  has  a clearness  which  is  well  adapted  to  architectural  sub- 
jects. It  is  applicable  for  the  shadows  in  flaxen  hair,  on  ac- 
count of  its  slight  inclination  to  green,  and  for  general  shadows 
of  light  brown  hair. 

Brown  Pink. — This  orange-green  color  is  a vegetable  pig- 
ment and  almost  indispensable  in  landscape,  affording  many 
rich  foliage  tints  for  foregrounds.  It  may  be  modified  with 
Burnt  Sienna  and  if  a little  Indigo  be  added,  a warm  green  is 
produced.  It  can  be  used  in  flesh  to  bring  up  very  dark  shad- 
ows, if  such  exist  in  the  photograph ; combined  with  Pink 
Madder  it  forms  a valuable  flesh  shadow-tint. 

Burnt  Sienna. — A very  rich,  transparent,  and  powerful  or- 
ange-russet color,  sometimes  admitted  into  warm  or  very  dark 
complexions,  and  is  much  used  in  every  branch  of  water-color 
painting.  It  serves  for  the  shadow  tints  of  amber-colored  dra- 
peries ; and  in  painting  out-door  scenes  or  landscape  back- 
grounds it  yields  fine  olive  'greens  by  admixture  with  Indigo,  or 
any  of  the  deeper  blues  these  tints  may  also  be  saddened  into 
fine  olive  neutrals  by  the  addition  of  Sepia.  It  is  inflexibly 
permanent  and  washes  and  works  with  great  facility  ; can  be 
used  for  deep  lines  in  the  flesh— as  between  the  fingers,  wrinkles 
in  shadowed  parts,  etc. 

Burnt  Umber. — ^A  quiet  reddish-brown  color,  affording  clear 
and  warm  shadows.  It  is  apt  to  look  rather  turbid  if  used  in 


34 


HOW  TO  i*AINT  PHOTOGRAPHS. 


great  depth,  but  it  washes  and  works  beautifully  and  is  indis- 
pensable in  buildings.  It  is  a very  useful  color  for  some  of  the 
lighter  shades  of  brown  hair,  for  curtain-draperies,  and  for  the 
deepest  shadows  of  gold. 

Cadmium  Yellow. — A splendid,  glowing  orange  yellow,  whose 
durability  can  be  relied  on.  It  is  extremely  brilliant  and  nearly 
transparent,  which  qualities  make  it  invaluable  where  a gorgeous 
effect  is  to  be  produced.  It  is  the  very  best  vehicle  for  obtain- 
ing orange  tints,  works  and  washes  well,  and  is  the  most  serv- 
iceable yellow  for  rich  draperies ; but  it  is  rather  too  powerful 
for  flesh,  or  at  least  should  not  be  used  unless  its  effect  is 
thoroughly  understood. 

Carmine.  — This  well-known,  brilliant,  deep-tone  crimson 
possesses  great  strength  in  its  full  touches  and  much  clearness  in 
its  pale  washes — although  not  equalling  Pink  or  Rose  Madder 
in  this  latter  quality.  It  flows  and  works  extremely  well,  but 
it  is  even  more  fugitive  than  Lake  ; owing  to  which  qualities  the 
propriety  of  using  it  at  all  in  flesh  tints  is  very  questionable, 
whilst  the  Madders  can  be  recommended  to  supply  its  place. 
Its  use  should  be  confined  to  drapery  and  brilliant  touches,  al- 
though for  the  sake  of  strict  durability  it  is  best  to  ‘ ‘ choose  the 
lesser  evil  ’’  and  be  content  with  Crimson  Lake.  When  used, 
however,  shadow  with  Lake,  lowered  with  Sepia  for  the  heavier 
tones.  Brilliant  lights  can  be  obtained  by  delicate  touches  of 
red  crayon  or  pencil. 

Chinese  White. — This  very  eligible  material,  derived  from 
the  oxide  of  zinc,  is  of  the  greatest  importance  to  the  artist  in 
water  colors.  It  is  prepared  beautifully  white,  and  possesses 
the  desirable  quality  of  dense  body ; so  much  so  that  it  does 
not  change  in  drjdng,  and  the  painter's  effects  remain  unaltered. 
It  works  and  washes  with  great  freedom,  either  by  itself  or  in 
combination  with  other  colors ; has  no  pasty  or  clogging  quali- 
ties, and  its  permanency  is  unquestionable.  It  is  deemed  so 
very  superior  to  the  imperfect  whites  formerly  in  use  that  it 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS. 


35 


has  been  universally  accepted  as  the  most  valuable  white  pigment. 
When  used  in  its  pure  state  its  shadows  ought  to  be  cold. 
Mixed  with  local  colors,  it  is  the  means  by  which  high  lights  are 
generally  produced.  In  portraits,  its  use  is  chiefly  confined  to 
the  white  spots  of  the  eyes,  to  the  finishing  of  laces  and  the  lin- 
en, and  highest  lights  on  gold  ornaments,  etc.  It  is  also  useful 
in  correcting  errors,  and  (if  used  in  an  extremely  limpid  state) 
for  heightening  complexions  when  the  photograph  is  too  dark. 

Crimson  Lake — Is  a beautiful  transparent  red,  similar  in  its 
character  to  Carmine,  but  lacking  the  extreme  richness  and 
brilliancy  of  the  latter.  It  is  generally  useful  in  all  departments 
of  the  art,  but  especially  so  in  mixing  the  purples  and  other 
colors  for  draperies.  It  is  not  classed  among  the  strictly  per- 
manent colors,  and  would  be  more  durable  if  covered  with  a 
coat  of  Gamboge,  but  in  this  case  it  is  likely  to  change  from 
crimson  to  scarlet.  Lake  and  Sepia  form  a good  compound 
for  the  lines  of  the  eyelids,  nostrils,  between  the  lips,  fingers,  and 
deep  touches  of  the  flesh  generally,  as  well  as  for  constant  use 
among  the  draperies.  It  is  a source  of  regret  that  a pigment  of 
such  various  use  and  application,  possessing  so  many  desirable 
working  qualities  and  excellent  hue,  should  not  also  be  strictly 
durable. 

Cobalt  Blue — Is  a pure,  bright,  azure  color,  nearly  trans- 
parent, and  the  only  blue  pigment  recommended  for  obtaining 
the  grays  and  pearly  tints  in  flesh.  It  is  a very  useful  color 
in  every  respect,  works  well,  and  is  quite  permanent.  With 
Indian  Red  it  forms  a standard  shadow-tint  for  flesh  ; with 
Brown  Madder  it  affords  a range  of  fine  pearly  neutrals ; and 
with  Light  Red  in  any  proportion  it  gives  beautiful  cloud-tints. 
It  affords  clear,  bright  tints  in  skies  and  distances,  but  is  lacking 
in  depth.  It  is  slightly  turbid  when  used  as  a strong  wash,  in 
which  case  French  Blue  would  answer  better.  Cobalt  and  Yel- 
low Ochre,  neutralized  with  a little  Lake,  forms  a very  beautiful 
and  useful  gray  ; and  with  Sepia,  one  of  heavier  tone.  Cobalt, 


36 


HOW  TO  PAINT  PHOTOGRAPHS. 


very  slightly  tinged  by  the  addition  of  Gamboge  (this  only) 
makes  a beautiful  greenish-blue  cloud-wash  for  vignette  heads 
— being  especially  good  for  children. 

Dragon’s  Blood — Is  a deep,  yellowish  red,  not  in  very  com- 
mon use,  but  of  great  advantage  to  those  who  understand  its 
capacities.  As  a first-wash  for  a crimson  curtain  it  gives  a mel- 
low tone  of  exceeding  richness  ; is  important  in  obtaining  the 
various  hues  of  ‘ ‘ wine  color  ; ” and  is  otherwise  a very  useful 
red.  When  applied  as  a local  color,  shade  with  Crimson  Lake, 
adding  Sepia  for  depth.  It  may  be  also  used  for  giving  a warm 
tone  to  Indian  Ink,  and  when  so  used,  a very  little  Indigo  im- 
proves it  still  further. 

Emerald  Green — Is  a vivid  hue,  for  which  no  mixture  will 
answer  as  a substitute,  and  which  instantly  attracts  the  eye  to 
any  part  of  the  picture  where  it  is  used.  It  is  very  serviceable 
for  the  high  lights  in  green  stones  in  jewelry,  for  lights  and 
touches  on  silks,  curtains,  and  carpets ; and  has  the  effect  of 
toning  down  at  once,  by  force  of  contrast,  all  other  shades  of 
green  near  it.  Mixed  with  Gamboge,  very  limpidly,  it  may  be 
sometimes  used  as  a wash  for  ladies’  and  children’s  dresses — the 
high  lights  for  which  should  have  Chinese  White  added  to  the 
local  color. 

Flake  White — Is  the  next  most  valuable  to  Chinese  White. 
It  does  not  possess  the  great  body  which  characterizes  the  other, 
and  cannot  therefore  be  used  for  very  heavy  effects.  Its  lighter 
quality,  however,  renders  it  valuable  for  delicate  touchings  and 
fine’ handling — especially  for  remedying  objectionable  spots  in 
the  flesh  or  increasing  its  lights.  When  a great  deal  of  white 
drapery  is  to  be  painted  it  can  be  used  with  much  advantage,  as 
it  allows  the  more  potent  Chinese  White  to  be  reserved  for  the 
laces  and  stronger  effects. 

French  Blue — Is  much  darker  than  Cobalt,  strong  in  color, 
and  nearly  transparent.  It  resembles  the  tint  of,  and  is  con- 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS. 


37 


sidered  a good  substitute  for,  the  real  Ultramarine  ; and  al- 
though not  SO  pure  and  vivid,  is  more  generally  useful.  It 
washes  and  works  satisfactorily,  but  should  never  be  used  for 
grays  in  the  flesh  in  place  of  .Cobalt.  It  is  well  adapted  to  fig- 

ures, landscapes,  and  draperies ; and  in  the  latter  office  it  re- 
quires deep  shadows,  subdued  with  warm  ^browns.  It  is  infe- 
rior to  Cobalt  for  aerial  effects,  and  has  a slight  tendency  to 
purple,  which  may  be  remedied  by  adding  a small  quantity  of 
Prussian  Blue,  if  necessary. 

Gamboge. — A very  bright  and  transparent  yellow  gum,  in- 
clining to  green,  and  highly  useful.  It  flows  well,  and  the  resin 
which  it  contains  forms  a kind  of  natural  varnish  which  aids  in 
preserving  its  color.  It  is  too  ‘ ‘ brassy  ” to  be  used  in  flesh- 
washes.  In  landscapes  and  for  draperies,  it  forms,  in  combi- 
nation with  Indigo  and  French  or  Prussian  Blue,  a great  variety 
of  clear  and  cool  greens ; and  with  Sepia  or  Lamp  Black,  a 
very  sombre  tint.  Adding  Burnt  Sienna  or  Brown  Madder  to 
these  greens,  rich  and  easily-varied  autumnal  hues  are  produced. 
It  should  not  be  used  for  distant  tints.  It  is  not  entirely  per- 
manent, but  is  nevertheless  one  of  the  best  yellows  for  making 
greens,  especially  when  the  green  is  to  be  worked  upon  a rather 
dark  base,  such  as  the  old-fashioned  covering  of  photograph- 
ic chairs  ; no  other  yellow  overcomes  the  blackness  so  well. 
With  Indigo  and  Lake  it  also  produces  gray  and  black. 

Indigo — Is  a vegetable  pigment  of  a deep,  very  slightly  green- 
ish blue,  and  a veiy  useful  color  in  compound  tints.  It  is 
clear  in  all  its  shades,  washes  and  works  well,  and  is  thorough- 
ly reliable.  Indigo  is  indispensable  in  landscape,  and  with 
Gamboge,  Raw  Sienna,  Burnt  Sienna,  Roman  Ochre,  and  Yel- 
low Ochre,  it  gives  clear  sober  greens  ; — with  Sepia  it  makes  a 
retiring  green  for  distant  trees.  It  is  also  a useful  wash-tint 
for  backgrounds  when  considerable  depth  [is  desirable.  Indi- 
go, Sepia,  and  Crimson  Lake  or  Dragon’s  Blood  form  the  best 
compound  for  black  cloth  drapery ; and  with  these  any  tone 


38 


HOW  TO  PAINT  PHOTOGRAPHS. 


desired  can  be  obtained.  Warmed  with  Lake  it  is  also  the 
best  color  for  dark  blue  (military)  cloth.  Indigo  and  Carmine 
make  an  excellent  purple,  and  better  adapted  for  draperies 
(being  less  gaudy)  than  Prussian  Blue  and  Carmine.  Indigo 
and  Yellow  Ochre,  neutralized  by  Crimson  Lake,  make  a fine 
strong  gray,  very  good  for  deep  tones  in  clouding  and  for  a 
local  wash  in  solid  backgrounds. 

Indian  Red.  — A very  durable  earth  of  a purple  russet 
hue,  and  good  body.  When  rightly  used,  it  produces  fine 
clear  tints  in  flesh,  and  when  mixed  with  Cobalt  it  is  one  of 
the  standard  ingredients  for  the  deeper  flesh-shadows.  It  is 
much  used  for  grays  when  mixed  with  Cobalt  or  Indigo,  and 
neutralized  by  a little  yellow.  It  is  serviceable  alone  in  paint- 
ing the  upper  lip,  which  being  usually  in  shadow,  requires  a 
dull  red,  although  it  often  becomes  necessary  to  enliven  its  tone 
with  a little  Crimson  Lake.  Some  of  the  lighter  flesh  shadows 
and  many  of  the  lines — especially  of  children — may  be  done 
with  it,  but  with  delicacy. 

Indian  Yellow — Is  a rich,  intense,  golden  color,  much  used 
for  draperies,  and  possessing  greater  body  and  depth  than 
Gamboge,  forms,  in  combination  with  the  same  blues,  a variety 
of  more  intense  and  lively  greens.  It  is  quite  permanent,  and 
washes  and  works  to  perfection.  Its  fine  qualities  cause  it  to 
be  employed  very  generally  in  the  flesh-washes,  mixed  more  or 
less  with  Pink  Madder  and  Venetian  Red.  It  may  also  be  used 
for  warm  skies,  and,  mixed  with  Chinese  White,  it  gives  a dura- 
ble and  brilliant  high  light  for  gold.  Being  very  powerful  and 
gaudy,  much  care  should  be  exercised  in  its  application. 

Lampblack. — ^An  opaque  pigment  not  quite  so  intense  or 
transparent  as  the  old  Ivory  Black,  but  it  is  less  brown  in  its 
pale  tones.  It  has  sufficient  strength  of  body  to  obliterate 
every  underlay  of  color,  and  is  good  for  mixing  with  Chinese 
White  to  produce  the  gray  high  lights  on  black  cloth  and  vel- 
vet. It  may  be  used  in  lieu  of,  or  in  connection  with,  India 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS. 


39 


Ink,  for  retouching  photographs  ; and  being  free  from  the  some- 
times too  gummy  properties  of  the  latter,  it  works  kindly,  also 
producing  a more  silvery  effect.  In  every  case  where  depth 
and  opacity  are  wanted,  it  is  the  best  black  at  hand  ; whilst  its 
power  may  be  further  greatly  increased  by  the  subsequent  ap- 
plication of  gum  Arabic. , 

Lemon  Yellow — Being  the  lightest  tint  of  the  yellow  chromes, 
is  very  pale,  lively  and  wholly  free  from  the  least  tinge  of 
orange.  It  has  not  much  power  and  is  semi-opaque.  It  may 
be  employed  for  points  of  extreme  high  light,  is  quite  perma- 
nent, and  washes  well  if  skillfully  prepared.  Principally  useful 
in  draperies,  but  must  be  used  in  thin  washes. 

Light  Red. — A preparation  of  Burnt  Ochre  scarcely  to  be 
classed  as  a red  ; clear  and  transparent,  but  not  bright ; of  a 
character  similar  to  Venetian  Red,  but  partaking  of  a russet- 
orange  tone.  Mixed  with  Cobalt,  Rose  Madder,  and  Indian 
Yellow,  it  yields  a fine  shadow-gray ; and,  with  black,  and 
Brown  Pink,  fine  warm,  near-tones  in  landscape.  It  is  perma- 
nent and  useful.  With  Pink  Madder  and  a little  Indian  Yel- 
low, it  forms  a good  flesh  wash,  if  properly  modified.  But  too 
much  of  it  in  the  face  produces  a ‘ ‘ coppery ''  effect ; and  there- 
fore, when  used  alone,  it  is  more  desirable  for  the  darker  and 
warmer  complexions. 

Madder  Brown,  or  Brown  Madder. — This  rich,  lakey 
brown  is  of  intense  depth,  and  transparent ; affording  equally 
the  richest  description  of  shadows  and  some  of  the  most  deli- 
cate pale  tints.  With  Cobalt  or  with  French  Blue  a set  of  fine 
warm  or  cool  grays  are  compounded,  in  proportion  as  the 
brown  or  the  blue  predominates.  It  is  quite  permanent. 
Many  of  the  deep  lines  and  shadow-touches  of  the  face  may  be 
done  with  this  color  alone.  Sometimes  it  is  used  as  a local 
wash  for  furniture-wood.  This  color  may  be  so  nearly  supplied 
by  a mixture  of  Crimson  Lake  and-  Sepia,  that  the  latter  might 


40 


HOW  TO  PAINT  PHOTOGRAPHS. 


be  used  for  large  and  deep-toned  applications  ; but  the  fugitive 
quality  of  Lake  rather  depreciates  the  value  of  this  mixture. 

Neutral  Tint. — Composed  of  red,  yellow,  and  blue,  in 
certain  proportions,  is  a cool,  neutral,  compound  shadow  color, 
and  of  the  greatest  usefulness.  It  may  be  introduced  into 
faces  for  softening  the  edges  of  the  eyebrows  and  hair,  and  for 
general  purposes  where  a neutral  touch  or  shadow  is  required. 
With  Burnt  Umber  it  forms  a beautiful,  cool,  light-brown  hair- 
color,  and  with  Sepia,  a cool  dark-brown  for  the  same  purpose. 
It  is  of  advantageous  use  in  cloud  backgrounds,  and  indis- 
pensable for  softening  the  edges  of  the  head  and  figure.  Al- 
together, it  is  one  of  the  most  valuable  pigments  in  the  color- 
box. 

Orange  Chrome — Is,  like  Light  Red,  a tint  of  Yellow  Ochre 
burned — by  which  operation  it  acquires  warmth,  color, . and 
transparency — and  has  many  of  the  good  qualities  of  its  origi- 
nal, with  greater  power.  It  is  the  deepest  shade  of  the  yellow 
chromes  ; a very  powerful  tint,  and  opaque.  When  used  lim- 
pidly,  it  is  applicable  to  orange-yellow  draperies  ; and  should 
be  used  yery  delicately  alone,  or  subdued  with  Burnt  Sienna, 
for  strong  reflected  lights  on  the  flesh,  and  also  for  ‘ ‘ killing  ’’ 
the  blackness  of,  and  producing  transparency  in,  the  flesh- 
shadows.  It  will  be  found  a convenient  preparation  of  orange, 
especially  for  ‘ ^ touches  in  costumes,  flowers,  and  accessories. 

Olive  Green. — A fine  hue  of  sober  richness,  much  used  in 
landscape.  It  is  permanent,  and  mixed  with  Pink  Madder, 
makes  a good  clear  shadow  tint  for  many  parts  of  the  flesh. 
With  Sepia,  it  forms  an  excellent  color  for  solid  backgrounds 
in  bust  pictures,  if  washed  on  a dark  base, — harmonizing  well 
with  the  flesh. 

Pink  Madder — Is  veiy  delicate,  and  can  be  used  almost 
entirely  for  the  carnation  tints  in  flesh,  as  well  as  for  pink  dra- 
peries. It  is  clearer  in  its  pale  hues  than  any  dilution  of  either 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS. 


41 


Crimson  Lake  or  Carmine,  but  does  not  possess  intensity. 
With  Cobalt  it  forms  the  most  delicate  lavender,  and  many 
beautiful  tones  of  delicate  gray.  On  account  of  their  superior 
permanency,  all  the  pigments  obtained  from  madder  are  among 
the  most  valuable  in  the  color  list. 

Prussian  Blue. — A deep-toned,  brilliant  color,  having  a 
slightly  greenish  tinge,  on  ’which  account  it  is  not,  in  the  least 
degree,  permissible  in  skies  or  flesh,  where  none  but  pure 
and  unalloyed  colors  should  be  used.  It  is  of  all  blues  the 
most  generally  adopted  for  draperies ; and,  when  mixed  with 
Carmine  or  Lake,  it  produces  all  the  tones  of  violet,  lilac, 
and  purple.  Vvhth  Gamboge  it  forms  the  most  common 
green.  When  used  for  draperies,  it  should  always  be  warm- 
ed with  a little  Lake,  to  “ kill  " the  intense  cold  and  raw 
effect. 

Prussian  Green  — Is  transparent,  of  a cool,  deep-bluish 
tone  ; and  its  place  might  almost  be  supplied  by  mixture. 
It  is,  however,  a convenient  preparation,  applicable  to  cur- 
tains, chair  and  sofa  cushions,  carpets,  the  leaves  of  scarlet 
(artificial)  flowers,  the  green  stones  of  jewelry,  and  for  ‘ ‘ sea- 
green  ” silk  dresses.  The  high  lights  can  be  found  in  Emerald 
Green. 

Purple  Madder. — An  intensely  deep,  rich,  and  warm  pur- 
ple, affording  the  greatest  depth  of  shadow,  without  coldness 
of  tint.  The  clearness  and  beauty  of  its  delicate  tones  render 
it  valuable  in  every  stage  of  the  work.  With  Indigo  and  Raw 
Sienna  it  gives  beautiful  shadow  tints,  and  may  be  relied  on 
for  permanency.  Some  of  the  darker  lines  of  division  in  the 
flesh  can  be  drawn  with  it.  Carmine  and  Sepia  mixed  resemble 
this  color. 

Purple  Lake. — ^A  transparent,  deep-toned  Lake,  useful  as  a 
local  wash  for  Garnet,  and  in  shadows  of  crimson  and  purple 
draperies  ; also  good  in  making  the  Compound  Black. 


42 


HOW  TO  PAINT  PHOTOGRAPHS. 


Raw  Sienna — Is  very  transparent,  but  a rather  impure  or 
tawny  yellow.  It  is  mostly  valuable  in  landscape,  both  in  dis- 
tance and  foreground,  and  positively  excellent  for  obtaining  the 
greenish  hues  of  water.  It  can  be  made  very  useful,  but  does 
not  work  very  well,  owing  to  the  presence  of  undissolved  parti- 
cles, and  a tendency  to  be  uneven  on  the  paper.  It  furnishes 
a good  local  wash  over  a dark  ground,  that  is  afterwards  to  be 
lined  and  panelled  ; or  if  the  photographic  basis  is  light,  give 
the  wash  depth  and  strength  with  Sepia. 

Raw  Umber. — A quiet,  yellowish-brown,  not  perfectly  trans- 
parent ; applicable  to  certain  background-parts,  and  in  land- 
scape ; but  more  particularly  useful  in  the  shadowing  of  the 
various  tones  of  flaxen  hair. 

Rose  Madder,  or  Madder  Lake. — A rather  deep  tint  of 
the  same  kind  as  Pink  Madder,  and  for  which  it  could  be 
used.  It  is  of  universal  application  in  all  descriptions  of 
water-color  painting,  because  it  works  well  and  is  strictly 
permanent.  In  portraits  it  is  an  excellent  color  for  glazing 
the  under-lip,  and  when  used  as  a carnation  for  women  and 
children,  should  be  slightly  heightened  with  Scarlet  Ver- 
milion. 

Roman  Ochre — May  be  used  for  draperies,  and  sometimes 
for  the  yellowish  tint  in  very  dark  complexions.  It  is  deeper 
and  more  transparent  than  Yellow  Ochre,  and  is,  for  many 
purposes,  preferred  to  it.  It  makes  the  very  best  local  wash 
for  gold,  and  serves  also  for  some  kinds  of  flaxen  hair,  either 
alone  or  modified  with  Sepia.  With  Indigo  it  forms  a valu- 
able sober  green.  The  Ochres  are  among  the  most  ancient 
and  valuable  of  pigments,  and  are  classed  as  ‘ ‘ broken  ” or  in- 
definite colors. 

Scarlet  Lake — Is  more  scarlet  in  its  hue  than  Crimson 
Lake,  but  not  so  transparent.  Very  convenient  and  useful  for 
brilliant  crimson  effects,  and  as  a shadow-color  for  the  deepest 
tones  of  Pink  (Madder)  draperies. 


COLORS,  THEIR  QUALITIES  AND  ADAPTATIONS.  43 

Scarlet  Vermilion — As  already  prepared,  is  far  more  effect- 
ive and  beautiful  than  can  be  produced  by  mixture,  and  must 
be  ranked  among  the  essential  pigments,  if  for  no  other  pur- 
pose than  to  heighten  the  effect  of  Pink  or  Rose  Madder 
when  used  for  carnations.  It  is  the  addition  of  the  Scarlet 
Vermilion  which  gives  that  effect  called  ‘^peachy,”  so  ad- 
mirable in  the  cheeks  of  women  and  children ; but  its  opaci- 
ty, heaviness,  and  power,  require  an  extremely  delicate  appli- 
cation in  flesh,  or  the  worst  consequences  may  result.  It  is 
also  further  useful  for  the  more  brilliant  ^ ' touches  in  flowers, 
draperies,  and  carpets. 

[The  Vermilions  being  so  very  hard,  should  be  rubbed  off 
with  the  finger,  so  as  not  to  wear  out  the  brush.  ] 

Sepia — Is,  by  far,  the  most  valuable  of  the  Brown  pig- 
ments and  is  used  for  combinations  more  than  any  other 
color.  It  is  cool,  and  unless  artificially  warmed  by  mixing 
with  other  colors,  it  is  of  a dusky  brown  tint.  Its  light  tints 
are  extremely  clear,  but  its  coloring  property  is  so  very 
strong,  that  unless  used  with  great  caution,  it  is  apt  to  pro- 
duce heaviness  in  the  shadows.  It  is  perhaps  the  best  washer 
known  to  the  colorist,  and  is  transparent  and  permanent.  It 
is  useful  as  a general  shadow  tint  for  light  backgrounds,  and 
for  ‘ ‘ scumbling. With  Lake  it  makes  an  excellent  tint  some- 
what resembling  Brown  Madder,  that  is  useful  for  giving  the 
sharp  touches  about  the  eyes,  nostrils,  etc.  Added  to  Lake 
and  Indigo,  it  forms  the  ‘^Compound  Black  ” — a superb  mix- 
ture for  cloth,  silks,  satins,  etc.  As  a general  tint  for  the  hair 
it  is  unrivalled,  on  account  of  its  adaptability  to  either  the  light- 
est or  darkest  shades  of  brown.  In  landscape,  with  various 
proportions  of  Indigo,  it  affords  a range  of  fine  neutral,  cool, 
dark  greens  ; and  with  Prussian  Blue  a low  olive  green. 

There  are  also  two  other  descriptions  of  Sepia  : one  called 
Warm  Sepia,  the  other  Roman  Sepia.  They  are  tints  com- 
pounded by  the  admixture  of  a red  for  the  former,  and  2, yellow 


44 


HOW  TO  PAINT  PHOTOGRAPHS. 


for  the  latter,  with  the  natural  Sepia.  The  latter  is  useful  as  a 
local  color  for  yellowish-brown  hair,  and  as  a shadow-color  for 
Vandyke  Brown. 

Vandyke  Brown — Is  a bituminous  earth,  very  rich  and  trans- 
parent, and  is  named  after  the  great  master  of  the  portrait  art, 
on  account  of  its  frequent  use  in  his  works.  It  is  permanent, 
and  is  employed  in  almost  every  department  of  water  color. 
It  is  clear  in  its  pale  tints  and  deep  and  warm  in  shadows. 
Valuable  as  it  is,  and  the  most  beautiful  brown  the  colorist  has, 
it  nevertheless  works  badly.  With  Lake  it  forms  a good  trans- 
parent tint,  much  used  as  a flesh  shadow  color ; and  with  In- 
digo it  gives  very  clear,  sober,  neutral  greens  for  the  middle 
distance  in  landscape.  It  is  a very  fine  glazing  color,  and  is 
well  adapted  for  strengthening  the  shadow  under  the  nose, 
^ ^ glazing ''  the  darkest  shadows  of  green  draperies,  and  for  paint- 
ing ‘ ‘ golden-brown  hair.  Combined  with  Cobalt,  it  makes  a 
very  desirable  shadow-tint  for  linen  and  white  draperies  in  gen- 
eral— the  efiett  being  warm  or  cool,  as  the  brown  or  blue  pre- 
dominates. 

Vermilion. — A brilliant  opaque  scarlet  red,  of  great  body 
and  weight.  It  varies  much  in  its  tone  of  color  and  in  the 
facility  with  which  it  is  worked  ; and  as  it  does  not  flow  well, 
is  apt  to  settle  away  from  other  pigments,  and  totally  lacks 
transparency,  its  use  is  rather  circumscribed.  Added  to  Car- 
mine or  Gamboge,  it  aflbrds  the  tints  respectively  of  Scarlet  and 
Orange  Vermilion.  In  a very  limpid  state  it  may  sometimes 
be  used  for  the  flesh-washes  of  children  and  fair-complexioned 
women  ; but  as  it  is  a heavy  color,  extreme  caution  is  required 
to  do  this  properly.  It  is  a necessary  local  color  for  the  under- 
lip, but  must  be  applied  very  thinly.  In  like  manner  it  is  also 
serviceable  to  illuminate  the  deep  black  shadows  under  the  eye- 
brows, nose,  and  chin,  which  are  found  too  often  in  poor  pho- 
tographs. [See  General  Order  of  Painting,  Section  4.]  It  is 
too  heavy  as  a local  for  draperies,  but  is  well  adapted  for  the 


PURE  WATER. 


45 


brilliant  touches  in  carpets,  flowers,  and  otherwise,  when  effect 
rather  than  smoothness  is  desired.  It  cannot  be  used  for  grays 
or  purples. 

Venetian -Red — Although  deeper  and  purer,  is  very  similar 
in  its  general  character  to  Light  Red,  and  is  preferred  by  some 
as  being  not  only  a better  color,  but  as  working  better.  Its 
tints,  though  not  bright,  are  clear ; and  when  mixed  with  Co- 
balt or  French  Blue,  aflbrd  excellent  grays.  It  is  very  perma- 
nent, and  is  a useful  and  valuable  tint  for  ordinary  flesh-washes, 
either  with  or  without  yellow.  Heightened  with  Pink  or  Rose 
Madder,  it  makes  another  fine  glowing  hue  for  working  the 
flesh,  and  is  also  applicable  in  some  description  of  skies  ; sad- 
dened with  black,  it  gives  low-toned  reds  for  buildings. 

Yellow  Ochre. — This  sober  ‘ ‘ broken yellow  is  employed 
for  very  many  purposes,  is  permanent,  works  well,  and  is  the 
most  useful  and  valuable  of  all  the  Ochres.  It  possesses  a 
slight  degree  of  turbidness,  and  is  esteemed  for  this  very  quality, 
which  is  considered  to  produce  its  retiring  eflect.  It  is  useful 
in  forming  quiet  greens  for  landscape.  In  portraiture  it  is  used 
veiy  thinly  for  the  local  color  of  light  flaxen  hair,  and  in  com- 
pounding the  stronger  flesh-washes  for  men.  With  Vandyke 
Brown  it  furnishes  a good  yellowish  drab ; with  Indigo  and  a 
little  Lake  a positive  and  beautiful  gray ; and  with  Madder 
Brown  it  gives  the  exact  hue  known  as  Neutral  Orange. 

OHK>- 

l^ure  Water. 

It  is  always  best  to  use  water  that  is  entirely  free  from  ingre- 
dients which  would  be  hazardous  to  the  purity  and  permamency 
of  the  colors.  In  all  hard  and  impure  waters  the  colors  may 
be  disposed  to  separate  and  curdle,  so  that  it  is  often  impossi- 
ble a clear  flowing  wash  or  gradation  of  color  can  be  obtained 
with  them.  The  purest  and  safest  for  the  purpose  are  the  dis- 
tilled and  rain  waters,  by  the  use  of  which  all  chemical  action 
is  avoided. 


46 


HOW  TO  PAINT  PHOTOGRAPHS. 


Gum--  Water  and  Ox~gall. 

Gum  Arabic,  in  solution,  will  be  necessary  for  use  in  improv- 
ing the  deep  shadows  of  draperies,  giving  brilliancy  to  the  hair, 
eyes,  for  ‘ ‘ touches,  and  other  purposes.  Although  a variety 
of  things  have  been  used  for  this  end,  gum  Arabic  is  the  best 
adapted  for  general  use  with  water  colors.  It  does  not  degrade 
the  more  delicate  pigments,  and  yet  bears  out  the  more  positive 
colors  well. 

The  strongest  gum-water  ever  necessary  may  consist  of  one 
part  gum  and  three  parts  of  pure  water,  though  it  will  more  fre- 
quently be  used  much  weaker.  Gum  should  not  be  mixed 
with  water  containing  any  mineral  properties.  Do  not  attempt 
the  use  of  it  after  it  has  become  sour,  or  fermented  ; as  it  has 
not  only  lost  its  quality,  but  its  use  will  unnecessarily  imperil 
the  success  of  the  work.  The  solution  may  be  preserved  for  use 
by  adding  a little  Alcohol  diluted  fully  one  half  with  water ; or 
by  the  addition  of  a small  portion  of  the  carbonate  of  ammonia ; 
one  scruple  of  the  powdered  carbonate  to  one  ounce  of  the  gum, 
reduced  by  maceration  in  two  or  three  ounces  of  cold  water. 

As  will  be  learned  hereafter,  the  gum-solution  is  not  to  be 
applied  until  the  coloring  is  entirely  finished  ; and  then  spar- 
ingly, as  an  excess  of  it  is  not  only  likely  to  crack,  but  it  gives 
a vulgar  effect. 

The  making  of  photographs  on  Alhumenized  paper  has  become 
so  universal  that,  unless  special  directions  are  given  (or  it  is 
previously  understood  that  the  picture  is  to  be  painted)  they  are 
never  made  upon  what  is  designated  ‘ ‘ plain ''  (or  not  albumen- 
ized)  paper.  Hence,  if  the  photograph  in  hand  be  one  of  the 
former  description,  it  will  be  found  that  the  water-color  will 
neither  sink  into,  nor  even  flow  upon,  the  albumenized  surface. 
To  remedy  this  difficulty.  Clarified  Ox-Gall,  prepared  for  this 
purpose,  should  be  used  to  ‘'kill  the  grease,"'  and.it  is  necessary 
to  mix  but  very  little  with  the  colors.  A simple  dip  of  the  tip 
of  a brush  into  the  preparation  will  suffice. 


GUM-WATER  AND  QX-GALL. 


47 


It  will  be  found  that  the  ox-gall  combines  readily  with  the 
coloring  matters  and  gives  them  solidity.  It  increases  the  bril- 
liancy and  durability  of  Ultramarine,  Carmine,  Green,  and  deli- 
cate colors  generally.  If  mixed  with  gum-arabic  it  thickens  the 
colors  without  producing  a disagreeable  glittering  appearance  ; 
while  it  also  prevents  the  gum  from  cracking,  and  fixes  the  col- 
ors so  well  that  others  may  be  applied  over  them  without  degra- 
dation. 

Although  it  is  indispensable  in  washes,  it  is  not  nesessary  for 
color  which  is  to  be  stippled  on ; a little  Gum  Arabic  should 
be  used  instead.  Never  use  it  in  color  intended  for  ‘ ‘ plain  pa- 
per. Wash  the  brushes  well  after  working  with  ox-gall. 


brushes  and  Palette. 

Sable  brushes  are  not  only  the  best  adapted  to  water  color 
painting,  but  indispensable  to  the  production  of  good  work. 
Sables  are  made  of  black  and  red  hair,  the  former  being 
held  in  regard  for  having  better  points,  carrying  the  color, 
and  working  more  freely ; and  the  latter  for  possessing  great- 
er stiffness,  and  capacity  for  working  when  body-color  is  used. 

Compared  with  these,  camel-hair  brushes  are  worthless ; al- 
though it  is  desirable  to  have  a few  of  large  size  for  use  in  broad 
washes  where  smoothness  is  required  ; but  they  are  deficient 
in  the  elasticity  requisite  for  other  purposes.  A Jlat  camel-hair 
brush,  in  tin,  is  also  useful  and  necessary,  not  only  for  laying 
broad  washes  of  color,  but  for  damping  the  paper,  when  neces- 
sary, before  washing — as  well  as  for  softening,  where  the  effects 
may  be  too  harsh  and  heavy. 

It  is  vastly  preferable  to  use  brushes  which  have  the  hair 
inserted  in  ferrules  instead  of  quills,  on  account  of  their  not 
being  liable  to  split, — a fault  rather  common  to  quill  brush- 
es,— while  they  also  derive  much  value  from  the  circum- 
stance that  they  admit  of  being  made  so  effective  in  a 
broad  flat  shape,  and  well  adapted  to  working  backgrounds, 
skies,  foliage,  etc. 

In  the  purchase  of  brushes,  test  them  by  dipping  into  clean 
water ; see  that  they  readily  come  to  a point,  and  have  no  strag- 
gling hairs  about  them.  Good  sable  brushes,  when  completely 
filled  with  water,  will  allow  you  to  suddenly  fling  off  the  water 


ADDITIONAL  IMPLEMENTS. 


49 


and  instantly  spring  back‘d  again  to  a straight  point ! In  work- 
ing, all  brushes,  whether  round  or  flat,  should  return  to  their 
original  shape  after  every  stroke. 

Be  particular  to  obtain  good  brushes,  for  superior  work  cannot 
be  produced  with  inferior  ones.  In  time  the  original  points 
will  become  blunt  from  constant  use,  and  unfit  for  manipulating 
the  finer  touches ; but  they  will  yet  be  found  well  adapted 
to  different  grades  of  stippling  and  for  the  larger  and  heavier 
parts. 

It  is  recommended  as  a general  thing  that  the  student  should 
cultivate  a disposition  to  use  the  larger-sized  brushes  as  far  as 
his  work  renders  it  practicable,  in  order  that  he  may  acquire 
freedom,  and  ‘‘breadth’'  and  firmness  of  touch.  Avoid  minc- 
ing, and  a harsh,  line-like  manner  in  the  work. 

Palette,  etc. — Palettes,  and  tiles  with  divisions,  made  of 
chinaware,  can  be  purchased  and  will  be  found  convenient. 
It  is  also  desirable  to  have  a number  of  small-sized  smooth 
white  cup-plates,  or  saucers,  in  which  to  mix  the  larger  washes. 
In  the  absence  of  all  these  use  a common  white  plate. 

Do  not  use  glass,  for  this  is  too  smooth  to  grind  off  the  color  ; 
and  being  transparent,  it  prevents  one  from  judging  the  exact 
amount  of  depth  of  color  wanted. 

Additional  Implements, 

Boards,  Easel,  etc. — It  is  necessary  to  have  flat  Drawing 
Boards  upon  which  to  fasten  the  card-mounted  photographs. 
The  most  convenient  method  of  doing  this,  for  the  smaller  sized 
pictures,  is  with  Thumb  Tacks.  The  Boards  should  be  made  of 
well-seasoned  wood,  entirely  free  of  knots,  and  are  essential, 
whether  the  work  be  done  at  an  Easel  or  upon  a table.  The 
Boards  should  have  their  corners  perfect  right  angles  and  edges 
true,  so  that  in  using  the  Square,  the  lines  will  be  thoroughly 
and  geometrically  correct. 

A piece  of  clean  paper — especially  if  the  drawing-board  be 
used  upon  a desk  or  table — should  be  kept  over  the  lower  part 

3 


50 


HOW  TO  PAINT  PHOTOGRAPHS. 


of  the  work,  on  which  to  rest  the  hand  and  forearm  while  paint- 
ing ; otherwise  it  may  become  greasy  or  soiled  by  the  hand  (es- 
pecially in  warm  weather)  and  not  receive  the  color  well.  The 
whole  surface — vignettes  particularly,  where  there  is  so  much 
white  margin  to  weary  the  eyes — should  be  masked,  and  the 
working  done  through  an  opening  in  the  centre.  The  ordina- 
ry ‘‘  Filtering  Paper'’  serves  admirably,  is  a pleasant  gray  to  the 
sight,  and  is  very  convenient  for  pointing  and  draining  the 
brush.  Several  masks  of  various  sizes^and  openings  should  be 
kept  at  hand. 

The  use  of  the  Easel  is  greatly  to  be  preferred,  and  to  support 
and  steady  the  hand  upon  a Flat  Ruler  or  a Rest-Stick.  This 
position  is  not  only  more  healthy  than  any  other,  but  it  enables 
the  student  to  see  more  of  his  work.  Instead  of  leaning  over 
the  picture  if  it  be  upon  a table,  it  can  be  brought  close  to  the 
eyes,  whilst  the  student  sitting  between  the  legs  of  the  easel  is 
not  prevented  from  assuming  a comfortable  and  erect  position. 
The  easel  also  permits  the  work  to  be  placed  at  whatever  inclin- 
ation and  height  is  necessary — advantages  not  to  be  overlooked, 
especially  when  very  large  pictures  are  to  be  taken  in  hand.  * 

A Right  Angle,  a T Square  with  bevel  head  ; together  with  a 
Ruling  Pen,  and  Compasses  (Dividers)  with  pen  and  pencil 
shanks — are  all  necessary  instruments  for  drawing  in  panelled 
backgrounds,  columns,  doors,  windows,  balustrades,  and  other 


* In  my  own  practice  I use  an  Easel,  sit  in  a strong  arm-chair,  and 
have  my  materials  upon  a small  table  at  the  right  side.  By  this  I not 
only  secure  the  good  posture  and  facilities  which  the  easel  affords,  but 
an  advantage  of  the  table  also ; for,  in  making  large  washes,  rubbing  on 
pastel,  or  doing  anything  that  requires  horizontal  support,  I can  rest  the 
bottom  of  my  drawing-board  on  the  arms  of  the  chair  and  the  top  on  the 
easel  pins,  and  thereby  obtain  whatever  inclination  of  my  work  is  neces- 
sary. The  flat  ruler  (say  three  feet  long  and  two  inches  wide),  laid  across 
the  easel-pins,  makes  an  excellent  support  for  the  weight  of  the  arm  dur- 
ing the  tedious  operation  of  stippling,  and  in  general  when  engaged  upon 
small-sized  work.— G.  B.  A. 


ADDITIONAL  IMPLEMENTS. 


51 


accessories  which  require  mathematical  and  architectural  pre- 
cision. 

An  Eraser,  a Crayon  Stump,  and  India  Rubber  (white  prefer- 
red), suggest  their  uses  respectively.  The  latter  can  now  be 
had  encased  in  wood,  like  a pencil,  and  which,  being  sharpened, 
affords  an  apt  instrument  for  taking  out  delicate  lights.  A 
small  Spatula  or  palette-knife  will  be  found  most  convenient 
for  reducing  to  powder  and  mixing  the  shades  of  pastel.  A 
Magnifying  Glass  of  some  kind  is  almost  indispensable,  not 
only  to  assist — and  consequently  save — the  eyesight  in  minute 
working ; but  also  to  serve  for  the  examination  of  original  pic- 
tures when  indistinct  or  very  small,  and  of  which  a copy  is  to  be 
painted  or  retouched.  The  magnifier  should  be  of  a good  size 
and  provided  with  a handle  so  as  to  be  held  conveniently  with 
the  left  hand  while  working.  In  coloring  Porcelains  it  can  be 
made  particularly  serviceable,  facilitating  the  operation  and  af- 
fording an  easy  means  of  producing  exquisite  fineness. 


J[rra«0fmati  ixF 

The  window  through  which  the  light  is  admitted  to  the  studio 
and  upon  the  work  should  be  at  the  left  hand,  and  rather  to 
the  rear  than  front.  However,  whilst  it  be  arranged  rearward 
to  avoid  light  in  the  eyes,  be  watchful  also  that  the  head  shall 
not  in  the  least  degree  shade  the  work. 

A window  facing  north  is  the  best,  on  account  of  its  avoiding 
direct  %\m.-shine  whilst  it  furnishes  an  even  'SKm-light.  A high 
window  is  also  better  than  a low  one,  and  the  light  should  be 
made  to  enter  from  its  upper  half  or  third  part ; the  remainder 
being  covered  by  a dark  curtain  which  should  be  raised  or  low- 
ered according  to  circumstances. 

It  is  not  good  to  work  in  a very  strong  light ; it  will  beget 
extreme  particularity  and  hardness  of  effect,  while  a more  sub- 
dued light  is  likely  to  induce  breadth  and  softness.  This  is 
especially  the  case  with  large  pictures.  Another  advantage  of 
the  subdued  light  will  be  apparent  in  the  working  up  very  bad 
copies  ; the  location  of  half -shades  can  then  be  discerned,  the 
presence  of  which  would  not  have  been  suspected  at  all  in  a 
stronger  light.  Indeed,  the  size  of  the  work  in  hand  should 
always  govern  the  movable  curtain. 

An  excellent  shield  for  the  eyes  is  afforded  by  wearing  an 
oval-shaped  piece  of  light  card-board,  in  which  an  opening 
has  been  made  to  fit  the  head  comfortably,  the  rim  being  left 
wide  in  front. 


f 


Much  of  the  freedom  necessary  to  spirited  and  effective  work, 
particularly  in  the  matter  of  details,  will  depend  on  the  care 
and  attention  bestowed  upon  the  manner  of  using  the  brush. 

The  hand  should  be  lightly  rested,  but  it  must  be  in  such 
a way  as  to  secure  a perfectly  free  action  of  the  wrist,  and  of 
the  fingers  by  which  the  brush  is  held.  In  holding  the  brush, 
the  fingers  should  be  kept  as  far  as  possible  from  the  point  ; 
and  it  should  be  taken  between  the  first  finger  and  thumb,  the 
middle  finger  being  at  the  side  or  a little  under  it,  and  the 
third  and  fourth  fingers  gathered  quite  under  and  back.  Try 
to  acquire  a full  and  firm  touch  with  the  brush,  and  do  not 
work  too  much  on  the  point  of  it.  Wash  it  frequently  by  stir- 
ring in  a glass  of  clean  water,  especially  if  you  have  been  using 
gum  Arabic,  opaque  color,  or  white.  The  habit  (very  common 
among  those  who  use  water  colors)  of  giving  the  brush  a point 
by  drawing  it  between  the  lips,  is  chiefly  objectionable  if  the 
saliva  be  permitted  to  saturate  it.  It  is  far  better  to  draw  the 
brush  to  a point  over  a piece  of  soft  paper,  which  should  always 
be  kept  at  hand  for  this  purpose. 

Every  beginner  shoul^  endeavor  by  continued  practice  to  at- 
tain that  characteristic  in  manipulation  which  is  denominated 
^ ‘ breadth,  ” by  which  the  easy  dexterity  of  the  proficient  is 
readily  distinguished  from  the  faltering  touch  of  the  novice. 
In  a word,  ‘ / breadth  ''  is  the  result  of  knowing  exactly  what  to 
do,  and  doing  it  at  once!  He  must  not  expect  either  that  he  can 
acquire  immediately  or  easily  the  necessary  skill  to  accomplish 


54 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  various  processes  of  manipulation,  although  they  are  in  fact 
simply  mechanical.  Repeated  experiments  and  incessant  practice 
will  be  necessary  to  produce  satisfactory  results. 

The  handling  of  water-colors  is  comprised  in  three  principal 
operations,  viz.  : Washing,  Hatching,  and  Stippling. 


Directions  for  Washing, 

To  a looker-on,  the  process  of  washing,  though  it  may  seem 
to  be  the  easiest,  is  perhaps  the  most  difficult  of  the  three  meth- 
ods of  using  the  brush.  To  do  it  well  requires  an  amount  of 
quickness,  freedom,  and  steadiness — qualities  which  can  be  at- 
tained only  by  continued  practice,  and  which  are  not  found 
combined  in  every  student’s  hand.  Timidity  in  this  operation 
is  at  once  perceptible  in  the  result : blotches,  muddiness,  streaks, 
and  a general  unevenness  of  color.  In  his  first  attempts,  the 
student  may  feel  disappointed  if  he  does  not  attain  the  effect  of 
equality  and  evenness,  but  this  is  not  to  be  expected  without 
considerable  experience  ; and  much  dexterity  of  hand  will  al- 
ways be  necessary  in  order  to  avoid  the  blemishes  already  al- 
luded to, — inequality  of  color,  unevenness  of  tint,  improperly 
defined  edges. 

Where  a large  space  is  to  be  covered  by  a flat  wash,  it  is  ad- 
vantageous to  first  go  over  the  surface  very  lightly  with  pure 
water,  in  order  that  the  paper  thus  partially  saturated  may  ab- 
sorb the  wash  of  color  more  evenly  than  if  left  dry,  and  not  too 
rapidly  to  allow  its  being  put  into  all  corners  of  the  picture. 
Notice  also  that  the  flow  of  the  wash  can  be  regulated  consider- 
ably by  the  angle  at  which  the  board  ij  laid,  and  consequently, 
the  inclination  of  an  easel  will  be  found  entirely  too  steep  for 
the  larger  washes. 

The  tints  should  be  all  fully  prepared  beforehand,  and  then 
they  should  be  laid  upon  the  paper  as  rapidly  as  the  requisite 
depth  of  tint  and  the  preservation  of  the  forms  will  allow,  in 
order  that  the  interstices  of  the  paper  may  be  well  filled  and 


DIRECTIONS  FOR  WASHING. 


55 


solidity  of  effect  thus  obtained.  As  a general  rule,  the  brush 
should  be  tolerably  full  of  color  so  that  it  may  float  freely^  for 
upon  this  point  in  manipulating  the  cleanness  of  the  work  very 
much  depends. 

In  laying  on  the  tints,  begin  by  planting  them  boldly  and  at 
once,  close  to  the  edges  of  the  space  to  be  covered,  and  not  by 
repeated  touches  or  by  dragging  the  brush  timidly  backward 
and  forward.  It  is  also  well  to  stir  up  the  whole  wash  every 
time  the  emptied  brush  is  returned  for  more  color,  as  it  keeps 
settling  all  the  while.  In  passing  the  brush  to  and  fro,  while 
guiding  the  color-wash  as  it  flows,  a tremulous  or  wavy  motion 
of  the  hand  will  prevent  the  appearance  of  lines  after  the  washed 
part  has  become  dry. 

To  prevent  a blotty  appearance  in  laying  flat  washes,  the  stu- 
dent should  endeavor  to  regulate  the  charging  of  his  brush  with 
color  by  the  amount  of  space  to  which  it  is  to  be  applied.  If 
this  is  not  done,  and  the  brush  is  still  charged  after  covering  the 
space  intended,  it  can  scarcely  be  taken  off  the  paper  without 
leaving  a floating  spot,  or  drop  of  color,  at  the  point  of  removal. 
When  this  occurs,  however,  the  floating  drop  of  surplus  color 
should  be  removed  by  absorbing  it  into  the  brush,  made  some- 
what dry. 

Whenever  it  is  necessary  to  repeat  a wash  over  the  same  sur- 
face, be  careful  to  wait  until  the  previous  one  is  completely  ab- 
sorbed or  somewhat  advanced  in  drying  ; else  the  after-wash 
may  not  only  run  irregularly,  but,  if  the  previous  one  has  been 
strong  in  color,  it  will  lift  it  or  ‘‘  wash  up.'’  Neither  is  it  well 
to  attempt  the  mixing  of  colors  on  the  picture  by  successive 
washes  ; the  color  itself  should  be  definitely  settled  and  .prepared 
beforehand,  or  impurity  will  surely  result.  An  exception  to  this, 
however,  may  sometimes  occur  in  the  necessity  of  changing  or  of 
lowering  the  tone  of  a previous  by  an  after-wash,  when  the  first 
after  drying  has  been  found  deficient ; but  it  is  always  best  to 
test  the  wash  at  first  and  be  certain  of  its  tone. 

In  all  cases  where  transparency  must  be  preserved — as  in  the 


56 


HOW  TO  PAINT  PHOTOGRAPHS. 


local  color  for  hair  and  drapery — it  is  better  to  obtain  the  exact 
tone  by  two  or  more  applications  of  thin  washes,  rather  than 
with  a heavy  wash  at  once.  But  when  two  or  more  washes  are 
intended  to  be  laid  upon  the  same  part — especially  if  it  be  large 
— apply  the  heaviest  and  strongest  first ; for  the  reason  that,  as 
it  will  require  more  time  and  care  than  a lighter  and  thinner 
after- wash,  it  will  be  upon  the  untouched  surface  with  nothing 
to  ‘ ‘ wash  up. 

In  dryings  the  board  should  be  kept  at  the  same  inclination 
(or  a little  less)  as  when  the  wash  was  'applied.  When  ahsorp- 
fion  has  ended  it  can  be  laid  entirely  flat  to  dry. 

I>irections  for  Hatching. 

This  is  a process  most  generally  executed  upon  a previous 
wash.  It  consists  in  the  drawing  of  lines  in  such  a manner  as 
to  produce  an  effect  impossible  with  the  wash  alone.  There 
are  different  methods  of  hatching,  and  probably  every  artist 
has  his  own  peculiar  mode  ; but  the  student  is  recommended 
to  try  as  follows,  which  will  no  doubt  give  a sufficient  general 
idea. 

Work  over  the  space  to  be  hatched  with  short,  wide,  regu- 
lar strokes  drawn  firmly  in  rows,  and  so  as  not  to  leave  little 
blots  at  the  end  of  the  strokes  ; at  the  same  time  following,  as 
much  as  possible,  the  general  direction  indicated  by  the  form 
of  the  subject  in  hand.  Hence,  if  hatching  upon  a flesh-wash, 
the  direction  would  be  horizontal  on  the  forehead,  perpendicu- 
lar on  the  nose,  and  circular  around  the  eyes,  mouth,  chin,  and 
contour  of  the  face. 

[The  “little  blots'’  mentioned  can  be  avoided  by  using  the 
color  rathe-r  dry,  and  by  pressing  firmly  on  the  brush  at  the 
beginning  of  the  stroke  ; carry  it  on  to  the  end,  instead  of  be- 
ginning lightly  and  ending  by  a firm  pressure.  ] 

Having  hatched  these  strokes  evenly  one  way,  after  they  have 
become  dry,  cross  them  with  others  of  the  same  kind,  using 
the  same  firm  touch  ; but  never  cross  at  right  angles,  or  with 


DIRECTIONS  FOR  STIPPLING. 


57 


lines  too  oblique.  The  appearance  of  the  hatching  should  be 
tolerably  open,  but  not  too  much  so,  in  order  that  the  local 
color  shall  not  be  entirely  hidden. 

The  eifect  of  hatching  on  shadows  is  to  give  them  transpar- 
ency, enabling  the  spectator  to  look  into  their  depths, — a result 
which  can  never  be  attained  by  the  use  of  flat  washes  alone. 
In  the  clouding  around  vignette  heads,  it  is  the  hatching  which 
will  produce  the  mellow  aerial  effect,  and  without  which  the 
previous  washes  suggest  only  solidity  and  flatness. 

Sometimes  the  hatching  may  appear  too  wiry,  in  which  case 
wash  it  lightly  as  many  times  as  necessary  with  a clean  brush 
just  moistened  vv^ith  water,  so  as  to  slightly  blend  the  lines.  It 
may  also  happen  that  the  tint  is  worked  in  too  dark,  in  which 
case  hatch  with  clean  water  (without  color),  and  when  perfectly 
dry  remove  the  loosened  particles  of  color  by  rubbing  it  gently 
with  a brush  or  soft  handkerchief 

It  frequently  happens  that  when  the  picture  is  looked  at  un- 
der a light  opposite  to  that  by  which  it  was  painted,  the  hatch- 
ing appears  rough  and  very  decided.  For  this  reason  it  is 
advisable  to  place  the  picture  in  different  lights,  and  work  on 
it  until  it  is  perfectly  smooth  and  even, — taking  care  not  to 
deepen  the  colors.  This  may  be  easily  avoided  by  working 
rather  between  the  hatching  lines. 

If  the  student  will  examine  the  manipulation  of  a first-class 
Line  engraving — especially  a portrait — he  will  obtain  many 
valuable  hints  respecting  the  directions,  manner,  and  general 
effect  of  hatching. 


Dwections  for  Stippling. 

This  method  is  similar  to  hatching,  except  that,  instead  of 
lines,  the  color  is  worked  on  with  dots  and  touches  made  with 
the  point  of  the  brush.  Its  effect  is  about  the  same  as  hatch- 
ing— to  give  depth  and  transparency — and  at  the  same  time 
retain  greater  purity  of  tint  than  could  possibly  be  obtained  by 


58 


HOW  TO  PAINT  PHOTOGRAPHS. 


any  washing  of  mixed  colors.  It  is  considered  the  finest  and 
most  delicate  of  the  three  methods  of  handling,  and  is  conse- 
quently the  least  expeditious. 

Stippling  is  inseparable  from  flesh  painting,  and  may  be 
considered  the  means  par  excellence^  by  which  to  produce  those 
soft  undulations  and  indefinite  shadows  which  exist  in  nature. 
As  there  are  really  no  lines  in  flesh,  stippling  is  preferable  to 
hatching,  except  in  very  large-sized  pictures,  where  mere  dots 
would  be  too  weak  ; the  dots  and  touches  being  better  adapted 
to  produce  a granular  appearance,  more  harmonious  with  the 
quality  and  character  of  the  thing  represented. 

In  general  practice,  however,  stippling  and  hatching  have 
become  confounded,  although  the  united  method  is  demoni- 
nated  in  ordinary  parlance  stipple.  ” 

To  attempt  either  of  these  methods  in  their  purity  would  be 
almost  an  impossibility  in  photographic  painting.  The  irregu- 
larities which  occur  in  nearly  all  photographs  compel  the  artist 
to  adopt  whatever  method  will  best  meet  the  case  and  accom- 
plish his  purpose  ! Hence  this  non-conformity  with  the  exact 
demands  of  each  process  may,  after  all,  be  well  enough  ; and 
the  student  will  most  surely  find  that  when  he  endeavors  to 
paint  flesh,  it  will  be  somewhat  difficult  to  progress  in  his  work 
without  involuntarily  falling  into  the  adoption  of  a hatch- 
stipple  manipulation. 

Some  painters  indeed  recommend  the  flesh  to  be  painted, 
first,  by  hatching— keeping  the  lines  rather  square — and  leaving 
the  interstices  to  be  filled  up  afterwards  by  stippling.  The 
effect  of  this  is  considered  to  be  decidedly  bold  and  well  suited 
to  large-sized  work. 

Unless  the  picture  be  very  small,  or  the  work  is  intended  to 
be  very  fine,  the  student  is  recommended  to  give  preference 
to  the  use  of  a medium-sized  brush.  The  use  of  a very  small 
one,  or  one  having  a fresh  point,  is  quite  likely  to  induce  an 
excess  of  finish,  which  detracts  from  the  results  aimed  at, — 
depth,  solidity,  and  color.  For  the  general  stippling,  brushes 


PRACTICE  WITH  THE  BRUSH. 


59 


which  have  been  somewhat  worn  down  to  blunt  points  will  be 
found  the  most  desirable.  ' 

Stippling,  like  hatching,  must  follow  the  line  of  the  muscles, 
and  must  not  consist  of  dots  without  meanmg.  The  student 
should  closely  examine  some  of  the  best  specimens  of  stipple 
engraving  (those  beautiful  representations  of  statuary  contained 
in  the  Londo7t  Art  Journal,  for  instance),  and  he  will  discover 
what  a magical  effect  lies  in  the  correct  placing  and  disposition 
of  the  stipple-dots — -how  they  should  vary  in  size  according  to 
position  in  light  or  shadow, — then  ‘‘go  and  do  likewise.  ” 


^Practice  with  the  Brush. 

The  student  having  learned  hew,  it  is  supposed  he  will  pro- 
ceed to  do.  But  (as  has  been  already  suggested)  there  is  much 
to  acquire  that  should  be  done  apart  from,  and  as  preparatory 
to,  working  on  the  photograph.  This  is  particularly  true  in 
regard  to  Washing  and  laying  on  color  in  masses.  A dispo- 
sition to  practice  upon  drawing  paper  is  highly  valuable,  and 
in  order  to  aid  and  encourage  such,  the  following  extracts  are 
given  from  Professor  George  Barnard,  whose  authority  on  this 
point  is  sufficient. 

‘ ‘ Perfect  freedom  in  all  the  motions  of  the  fingers,  hand,  and 
wrist,  and  dextrous  management  of  the  brush,  should  be  ac- 
quired before  the  student  attacks  the  difficulties  of  color  ; and 
the  same  time  spent  in  practiemg  with  Sepia,  or  the  neutral 
tints,  with  the  view  of  gaining  this  facility,  will  be  well  be- 
stowed. 

“ Sepia,  without  any  admixture,  is  generally  chosen  as  the 
most  suitable  pigment  for  brush-practice,  as  its  light  washes  are 
extremely  clear  and  it  possesses  great  power.  Its  general  color 
is  not  disagreeable  in  any  part  of  the  picture  ; and  should  other 
tones  be  required,  it  will  harmonize  well  with  Cobalt  and  the 
other  blues  which  are  used  in  the  sky.  The  paper  employed 


6o 


HOW  TO  PAINT  PHOTOGRAPHS. 


may  be  white  or  tinted  ; the  latter,  as  it  allows  the  use  of 
Chinese  White  for  the  lights,  is  generally  preferred. 

By  these  preliminary  exercises  much  is  gained.  The 
pupil  becomes  acquainted  with  a few  of  the  powers  of  the  in- 
struments he  is  principally  to  depend  upon  for  his  effects  ; his 
eye  is  trained  to  observe  the  minutest  gradation  in  tone  or  col- 
or ; he  will  also  soon  perceive  that  color  has  very  different  ap- 
pearances when  put  on  full  or  dry,  when  floated,  blotted,  or 
dragged  ; and  the  close  observation  that  these  exercises  occa- 
sion will  eventually  produce  more  refinement  in  his  work  than 
if  he  hastily  dashed  in  his  colors  at  random. '' 


Introductory. 

The  student  in  photographic  painting  has  before  him  a pe" 
culiar  task*;  ii  is  decidedly  a field  strewn  with  hindrances,  of 
which  the  novice  in  the  school  of  water  color  upon  clean  paper 
has  not  the  most  remote  idea. 

Many  times  and  oft  he  will  find  that  in  order  to  produce  a 
desired  elfect  he  must  resort  to  expedients  and  make  choice  of 
colors  which,  upon  clean  paper,  would  be  positively  wrong  and 
intolerable ; and  hence  necessity  compels  him  to  adopt  what- 
ever method  shall  attain  the  result ! It  is  not  an  improper  con- 
clusion either,  since  the  effect  is  the  thing  sought,  without  refer-, 
ence  to  the  means  by  which  it  has  been  produced. 

The  free  use  of  Vermilion  and  Orange  Chrome  in  the  shad- 
ows of  the  flesh  ; of  Burnt  Sienna,  or  Yellow  Ochre  in  the  eyes  ; 
and  the  many  other  seeming  misapplications  of  color — as  com- 
pared with  their  respective  effects  upon  clean  paper — are  things 
which  must  be  reconciled ; and  are  known  to  prove  great 
stumbling-blocks  to  those  of  the  ^ ‘ old  and  true school  who 
undertake  the  anomalous  matter  of  painting  upon  the  photo- 
graphic basis. 

In  view  of  these  incongruities  which  enter  into  the  experience 
of  every  student,  it  would  be  in  vain  to  say  Do  thus,  and  sod’ 
The  only  alternative  for  us  is  simply  to  lay  down  a general 
plan  of  coloring  ; leaving  to  his  own  judgment  and  capabilities 
the  adapation  of  our  teaching  to  each  picture  he  may  have  in 
hand.  Perhaps  the  whole  matter  of  his  success  will  depend  on 


62 


HOW  TO  PAINT  PHOTOGRAPHS. 


how  far  he  is  able  to  discover  the  effect  of  colors  and  their  use 
upon  the  photographic  ground. 

A few  months’  study  and  practice,  however,  will  render  the 
application  of  the  proper  colors  so  easy  and  familiar,  that  the 
photograph  will  of  itself  suggest  many  of  the  tints  necessary  to 
give  it  depth  or  relieve  its  blackness. 

For  the  reasons  above-mentioned,  it  is  also  plain  that 
comparatively  little  advantage  can  accrue  to  a beginner  in  pho- 
tographic paintirlg,  who  studies  the  various  works  on  legithnate 
water-color — as  they  all  refer  to  operations  on  clean  white  paper ^ 
— and  he  will  find  that  he  must  at  last  depend  upon  his  own 
perception  and  judgment. 

Flesh-  Washes. 

For  convenience  and  ordinary  practice  we  may  divide  the 
complexions  of  both  men  and  women  into  three  general  classes, 
respectively,  and  prescribe  the  colors  which  may  be  used  in 
compounding  the  flesh-washes  for  each  sex  as  follows  : 

GENERAL  FLESH-WASHES  FOR  MEN. 

1.  Ordinary. — ^Indian  Yellow  or  Yellow  Ochre,  and  Vene- 
tian Red. 

2.  Florid. — Indian  Yellow,  Venetian  Red  and  Pink  Mad- 
der. 

3.  Swarthy. — Yellow  or  Roman  Ochre,  and  Light  Red  ; 
sometimes  add  Indian  Red  ; and  for  a copper-tone  add  Burnt 
Sienna. 

GENERAL  FLESH-WASHES  FOR  WOMEN. 

1.  Ordinary. — Indian  Yellow  and  Venetian  Red. 

2.  Blonde. — Indian  Yellow  and  Pink  Madder  (or  Vermilion, 
if  rightly  used). 

3.  Brunette. — Yellow  Ochre  or  Cadmium,  Venetian  Red  and 
Pink  Madder. 


CARNATION  TINTS. 


63 


These  washes  should  always  be  weaker  in  color  and 
more  limpid  in  quality  for  women  and  children  than  for  men. 

The  flesh-wash  should  be  thin  and  devoid  of  particles  of  un- 
dissolved pigment,  and  in  order  to  be  kept  pure  it  should  be 
mixed  afresh  for  every  picture.  In  some  cases  a limpid  wash 
of  Light  Red  alone  will  suffice  for  men,  although  the  addition 
of  yellow  gives  it  a mellower  tone.  In  like  manner  a thin  wash 
of  Vermilion  can  be  sometimes  used  for  very  fair  complexions 
in  women  and  children,  but  its  opacity  and  turbidness  require 
the  most  careful  handling.  When  a very  forcible  tinge  of  yel- 
low is  desired  use  Cadmium,  but  remember  its  wonderful  pow- 
er ; and  as  it  i^  slightly  orange-toned,  it  should  never  be  used 
for  true  blondes. 

When  using  the  flesh- wash  designated  ordinary  ” it  may 
occasionally  be  desirable  to  impart  an  additional  roseate  tone, 
especially  to  females  ; in  such  cases  let  the  first  wash  dry,  and 
then  go  over  again  with  a thin  wash  of  Pink  or  Rose  Madder. 

Some  artists  use  one  of  the  yellows  alone  for  the  primary 
wash,  and  afterwards  hatch  and  stipple  all  the  carnations  and 
shadow  colors  upon  this  base.  This  method  is  perhaps  best 
adapted  to  the  more  delicate  treatment  of  children  s faces  ; and 
it  is  also  applicable  to  prints  in  which  the  face  is  full  of  dusky 
half-shades  ; clear  it  up  first  with  a thin  wash  of  yellow,  then 
add  the  red. 

Although  it  is  desirable  to  obtain  a satisfactory  flesh-wash  as 
a basis  for  subsequent  manipulation,  it  is  advisable  that  the  stu- 
dent should  not  attach  undue  importa7ice  to  it.  The  after-work 
will  necessarily  obliterate  its  presence  to  a very  great  extent,  and 
for  this  reason  the  wash  should  always  be  mixed  rather  strong. 

Carnation  Tints, 

The  most  proper,  beautiful,  and  durable  carnation  tints  are 
obtained  with  the  Madders — Pink  and  Rose — combined  with 
the  Vermilions.  Crimson  Lake  is  an  objectionable  color  on 
account  of  its  purplish  tone,  and  is  not  permanent.  Carmine 


64 


HOW  TO  PAINT  PHOTOGRAPHS. 


is  not  only  too  intense  but  even  more  fugitive  than  Lake,  and 
its  use  in  flesh  is  not  permissible  except  it  be  for  the  purpose  of 
obtaining  a climax,  should  the  Madders  prove  insufficient. 
That  striking  effect  called  “peachy,’'  which  occurs  in  children’s 
cheeks,  is  obtained  by  the  very  delicate  use  of  Scarlet  Vermilion 
worked  into  the  Madders  already  there,  or  mixed  with  them 
when  first  applied  ; but  this  color  being  opaque  and  strong  it 
must  be  handled  in  this  particular  instance  very  lightly  and  ju- 
diciously. 

In  men’s  faces,  the  rosiness  of  the  Madders  and  the  brilliancy 
of  the  Vermilions  in  their  pure  state  would  be  scarcely  proper, 
and  will  need  toning  down,  which  can  be  done  with  Indian 
Red  or  Venetian  Red. 

For  a general  carnation  tint  in  other  portions  of  the  face  use 
Pink  Madder  and  Venetian  Red  mixed. 

In  using  all  the  carnation  tints  it  will  be  advantageous  to  re- 
member that,  as  these  reds  will  lose  somewhat  of  their  intensity 
by  time,  they  should  be  painted  a little  brighter  in  color  than 
they  are  in  nature,  so  as  to  allow  for  this  loss. 

Shadow  Colors  for  Flesh. 

Properly  speaking  there  can  be  no  one  mixture  for  flesh  shad- 
ow-tints, inasmuch  as  each  shadow,  in  the  face  especially,  not 
only  varies  from  the  others,  but  those  in  one  face  will  differ 
from  those  of  another. 

The  following  combinations,  however,  are  given — leaving  to 
the  student  their  adaptation  as  he  may  be  able  to  decide,  accord- 
ing to  circumstances.  Crimson  Lake  and  Sepia  ; Cobalt  and 
Light  Red ; Madder  Brown  ; Cobalt  and  Indian  Red  ; Olive 
Green  and  Pink  Madder  ; Indian  Red  alone  ; Vandyke  Brown, 
and  Sepia,  both  used  as  a glaze.  In  mixing  these,  the  7m?'m 
color  must  predominate — the  cold  color  will  have  its  opportuni- 
ty anon  when  the  grays  are  to  be  applied.  With  the  foregoing 
the  most  important  and  characteristic  shadows  of  the  face  may 
be  put  in. 


GR-\YS,  PEARLY  TINTS,  ETC. 


65 


\Mien  the  shadows — especially  under  the  eyes,  nose,  and 
chin — are  already  too  dark,  and  have  not  been  made  lighter  by 
retouching  the  negative,  they  must  be  raised  to  transparency  by 
the  more  powerful  colors.  Vermilion,  thinly  used.  Orange 
Chrome  tempered  with  Burnt  Sienna,  and  Light  Red  may  be 
used ; and  these  worked  upon  the  positive  darkness,  though 
they  do  not  produce  the  true  appearance  of  shadowed  flesh,  are 
the  main  remedies  which  the  color-box  affords.  They  should 
not  be  applied  with  too  great  strength,  else  the  shadow  will 
appear  rather  than  ‘^warm.'' 

For  half  shadows,  when  rather  dark,  work  over  them  with 
thin  Vermilion. 

GrmjSy  Pearly  Tints^  etc. 

The  uneducated  eye  sees  nothing  more  in  the  human  face 
than  the  general  or  local  color  denominated  ‘‘flesh;”  but 
among  painters  the  varied  hues  which  go  to  make  up  the  entire 
complexion — in  addition  to  the  shadows  and  carnations — are 
known  as  ‘ ‘ pearly  tints,  ” ‘ ‘ grays,  ” ‘ ‘ middle  tones,  ” etc. 

These,  inter\*ening  between  light  and  shadow,  should  never 
be  made  so  decided  or  \iolent  as  to  impress  the  spectator  with 
the  notion  of  an  actual  presence  of  blue,  or  purple,  and  some- 
times green  ; but  while  the  effect  must  be  complete  the  tints  them- 
selves by  which  said  effect  is  obtained  should  be  worked  in  very 
adroitly,  and  with  as  much  cleanliness  as  possible. 

The  delicate  shadows  of  the  forehead  contain  more  gray  than 
those  of  the  lower  face ; the  half-shadows  under  the  eyes  are 
more  inclined  to  purple  ; but  whenever  the  deep  shadows  blend 
into  the  local  flesh  color  there  will  also  be  found  a lilac  or  a 
gray,  according  as  the  complexion  is  light  or  dark.  With  many 
artists  the  lilac  or  pearly  tint  is  in  great  favor,  especially  where 
the  complexion  is  delicate  and  the  skin  transparent,  as  in  chil- 
dren. 

The  various  degrees  of  these  tints  will  be  found  by  mixing 
Cobalt  with  Indian  Red  and  Pink  fMadder,  to  obtain  hues  of 


66 


HOW  TO  PAINT  PHOTOGRAPHS. 


lilac,  purple,  and  gray ; and  these  can  be  reduced  to  a cold  tone 
by  adding  a very  little  yellow. 

Neutral  Tint  alone  furnishes  a beautiful  cool  gray,  and  is  es- 
pecially useful  for  softening  the  edges  of  hair  and  blending  it 
into  the  flesh ; but  Cobalt  should  be  added  as  it  approaches 
the  highest  light.  Much  of  the  gray  effect  is  obtained  by  sim- 
ply working  Cobalt  over  the  reds  previously  laid,  but  this  must 
be  done  understandingly,  or  dirtiness  is  sure  to  result. 

It  will  perhaps  surprise  the  student  to  learn  how  much  of  a 
good  painting  is  made  up  of  shadows,  gray  and  pearly  tints,  and 
how  far  they  go  towards  forming  one  harmonious  whole. 
Grays  are  not  intended  to  hide  the  local  color,  but  rather  to  be 
passed  over  it  as  a glaze  ; and  therefore  in  laying  them  on,  par- 
ticular care  must  be  taken  that  the  under-tints  be  not  disturbed  ; 
otherwise  the  grays  will  become  muddled  and  rendered  opaque 
(which  would  nullify  their  purpose),  since  it  is  intended  to  show 
the  flesh-color  under  them. 

The  student  will  note  that  the  delicate  blending  of  these 
pearly  tints  into  the  flesh  and  shadows  gives  softness  and  ro- 
tundity to  the  work  ; for,  if  the  shadows  be  left  hard  against  the 
lights,  not  being  duly  graduated  into  them  with  the  pearly  tint, 
the  picture  will  appear  crude  and  harsh,  and  wanting  the  con- 
necting link  which  these  intermediate  tints  form. 

These  tints  appear  to  differ  also  according  to  complexions, 
but  the  difference  is  carried  more  through  the  local  color  which 
they  are  laid  upon  than  any  real  alteration  in  themselves  ; as  a 
consequence,  therefore,  when  the  flesh  is  very  powerful  in  color, 
the  grays  must  be  correspondingly  strong. 

The  following  observations  by  Prof  Barnard  are  no  less  ap- 
propriate than  valuable  in  this  place  : 

‘ ‘ Respecting  the  colors  or  tints  of  flesh  when  examined 
closely,  we  shall,  doubtless,  find  that  many  of  the  most  beauti- 
ful and  delicate  of  the  tones  on  the  human  face  are  referable  to 
the  effect  of  simultaneous  contrasts  ; thus,  at  the  edge  of  shad- 
ows on  a skin  of  warm,  rosy  color,  is  observed  a cool  gray  and 


TOUCHES. 


67 


sometimes  even  a cool  greenish  tint,  these  becoming  more  par- 
ticularly visible  when  the  surface  is  rounded  like  the  face. 
Where  the  light  passes  into  half-light,  or  where  the  light  and 
shade  meet,  there  will  be  these  cool  tones  ; and,  if  the  com- 
plexion is  red,  they  will,  from  the  complementary  action,  have 
a tendency  to  green,  however  unnatural  such  a tint  may  be  con- 
sidered on  the  face.  If  the  complexion  incline  to  yellow,  or 
orange  rather,  the  edge  of  the  shadow  will  incline  to  blue. 
Some  portion  also,  of  these  peculiar  gray  tints,  may  be  owing 
to  the  semi-transparent  nature  of  the  skin,  as  well  as  the  degree 
of  gloss  on  its  smooth  surface,  which  reflects  the  cool  lights  of 
the  sky.  When  these  slightly  green  or  gray  edges  of  shadows 
are  put  in,  they  must  be  decided  in  their  form  and  position,  and 
pure  in  tone,  or  they  will  lose  all  effect.  If  dirty  or  undecided, 
it  is  almost  needless  to  add  they  are  worse  than  useless.'' 

Touches. 

By  the  term  ‘ ‘ touches  " we  designate  the  darkest  parts  of  the 
features  where  the  expression  is  concentrated,  the  high  lights, 
and  other  salient  points  which  give  life,  spirit,  and  intelligence 
to  the  whole  countenance, — deciding  its  portrait  and  character. 

Some  of  these  must  be  defined  at  the  beginning  of  the  work 
— after  the  flesh-wash — so  a'S  to  preserve  the  drawing  of  the 
photograph,  whilst  others  are  to  be  added  at  the  conclusion,  by 
way  of  a coup  de  grace.  Among  the  former  may  be  mentioned 
the  upper  eyelashes,  nostrils,  line  of  partition  between  the  lips, 
and  the  line  under  the  chin  and  ears.  Burnt  Sienna  and  Brown 
Madder,  or  Lake  and  Sepia,  furnish  mixtures  suitable  for  this 
purpose.  When  the  shadows  are  very  dark  (as  they  are  indeed 
too  often),  use  Vermilion  thinly  to  bring  up  the  dark  parts. 

Among  the  after-touches,  the  points  of  high  light  on  the  fore- 
head and  bridge  and  tip  of  the  nose  may  be  obtained  in  part 
by  rubbing  out  the  flesh-wash  nicely  with  clean  India-rubber  ; 
but  this  must  be  done  softly  so  as  not  to  mar  the  surface  of  the 
paper.  This  effect  may  also  be  further  heightened  by  applying 


68 


HOW  TO  PAINT  PHOTOGRAPHS. 


Flake  White  with  great  delicacy.  The  after-touches  about  the 
mouth,  which  is  the  most  changeable  of  all  the  features,  must 
be  veiy  carefully  done,  as  they  will  affect  and  determine  the 
general  expression. 

Other  of  the  after-touches  are  produced  by  simply  going  over 
the  part  with  a very  thin  solution  of  gum  Arabic.  As  water 
colors  dry  without  gloss  this  application  gives  depth  to  the  ex- 
treme shadows,  and  adds  a general  brilliancy  ; but  guard  against 
a tendency  to  overdo  it,  for  on  the  whole,  the  less  gum  that  is 
used  the  better.  In  finishing  the  eyes,  hair,  jewehy,  and  any- 
thing which  has  a gloss  in  nature,  it  should  be  used  more  free- 
ly, and  in  these  cases  it  is  indispensable. 


Painting  the  Hair. 

Painting  the  hair  is  by  no  means  an  easy  task  in  regard  to  its 
imitation  of  nature.  The  difficulty  will  be  found  to  consist  not 
so  much  in  the  coloring  as  in  the  drawing, — by  which  is  meant 
those  light  and  heavy  brush-lines  which  give  the  form,  flow, 
and  character  of  the  hair. 

The  disposition  of  every  beginner  is,  as  it  were,  to  define 
‘‘each  particular  hair,”  instead  of  breaking  it  up  into  easy- 
looking  masses.  This  error  is  more  likely  to  occur  in  painting 
short  hair,  as  in  the  eyebrows,  mustache  and  beard  ; in  which 
cases  much  care  should  be  used  to  avoid  giving  them  a stiff, 
wiry  appearance.  The  lines  should  not  be  made  in  continuous 
parallels,  nor  should  the  entire  body  of  hair  be  painted  so  as  to 
look  like  a solid  skull-cover.  However,  these  remarks  find  an 
exception  in  the  front  hair  of  women  and  young  ladies,  when 
worn  plain,  and  when  the  hair  above  the  line  of  the  ears  must 
be  delineated  with  accuracy  and  smoothness  ; but  at  the  part- 
ing this  harshness  must  be  somewhat  modified  by  making  the 
hair  to  blend  with  the  scalp. 

In  pictures  of  men,  entirely  different  methods  should  be 
adopted  for  the  hair  and^  whiskers.  To  accomplish  the  former, 
it  will  require  a more  graceful  sweep  of  lines  varying  in  width 
so  as  to  represent  masses  ; whilst  the  latter  requires  thin  lines 
only,  and  drawn  with  more  rigidity  and  precision.  Even  if  the 
hair  be  short  it  does  not  allow  stiffness,  whilst  if  the  whiskers 
are  so,  we  do  not  look  for  anything  else  than  short  lines,  which 


70 


HOW  TO  PAINT  PHOTOGRAPHS. 


produce  that  very  effect.  Neither  can  these  methods  be  inter- 
changed ; the  first,  if  used  for  the  second,  would  be  unnatural, 
as  whiskers  do  not  lay  in  locks  and  easy  masses  ; while  the  sec- 
ond, if  used  for  the  first,  would  produce  monotony  and  wiriness 
— the  fault  first  above-mentioned. 

Curls  should  not  all  be  perfectly  cylindrical,  as  is  too  often 
seen,  but  made  to  differ  in  size,  shape,  and  direction.  They 
should  fall  in  easy  masses  ; should  not  drop  or  lie  upon  the 
neck  in  continuous  parallels  (like  so  many  pipes)  ; and  should 
never  run  across  the  neck  so  as  to  produce  a heavy  dark  line  as 
if  separating  the  head  from  the  body  ! If  curls  appear  as 
though  arranged  with  too  much  precision,  their  stiffness  may  be 
somewhat  remedied  by  the  addition  of  a few  straggling  ringlets 
thrown  into  the  corners  and  at  the  ends.  A hard  contour  of 
the  face  niay  be  improved  in  like  manner  by  breaking  up  the 
edge  of  the  hair  with  small  locks  and  ringlets  ; but  make  them 
round  and  graceful,  and  devoid  of  the  appearance  of  single 
hairs. 

Whether  to  apply  the  local  color  or  lay  in  the  shadows  first, 
will  depend  entirely  on  the  distinctness  of  the  photograph. 
When  there  are  ringlets,  curls,  and  especially  if  the  hair  is 
crimped  or  frizzled,  it  is  perhaps  the  best  plan  to  define  the  prin- 
cipal shadows  before  applying  the  wash.  Never  mix  any  opaque 
color  with  the  tint  to  be  used  for  the  shadows,  as  they  must 
always  be  kept  clear  and  transparent.  The  high  lights  must 
not  be  put  on  until  the  previous  work  is  dry  ; then  keep  them 
thin,  working  with  a bare  pencil,  so  that  the  color  of  the  hair 
may  appear  through  them. 

The  outer  circumference  of  the  hair  should  be  made  ‘‘feath- 
ery,” as  in  nature,  and  not  be  defined^ with  such  precision  as  to 
make  the  head  look  pasted  against  the  background — particu- 
larly when  the  head  is  surrounded  by  clouding ; therefore  use 
Neutral  Tint,  or  gray,  to  give  a softness  of  definition  around 
the  outer  edges.  The  softer  the  background  about  the  head 
the  finer  and  clearer  will  be  the  effect  of  relief. 


COLORS  FOR  THE  HAIR. 


71 


The  natural  gloss  of  the  hair  necessitates  the  use  of  gum 
Arabic  water  with  considerable  freedom.  It  can  be  applied 
with  even  additional  strength  in  the  heavy  shadows,  producing 
depth,  and  imparting  a general  brilliancy  to  the  whole.  Very 
little  goes  a great  way,  however,  and  it  must  be  applied  with 
caution,  else  the  effect  will  be  stiff  and  daubed  ! 

The  following  directions  for  color  are  applicable  to  the  gen- 
eral classifications  of  hair. 

Colors  for  the  Hair. 

Flaxen  Hair. — Under  this  head  quite  a number  of  preva- 
lent shades  may  be  included — commonly  among  children — the 
color  being  in  a continued  state  of  transition.  In  general, 
wash  with  Yellow  Ochre  alone,  or  modified  to  the  shade  with 
Roman  Ochre  and  Sepia.  Shadow  with  Raw  Umber,  Roman 
Sepia,  or  Bistre,  which  will  give  the  greenish  hue  natural  to  the 
middle  tones  of  this  hair.  If  there  are  curls,  the  high  light  on 
them  can  be  intensified  with  Yellow  Ochre  or  Indian  Yellow 
and  White.  Associated  with  blonde  complexions  and  blue 
eyes  this  description  of  hair  is  sometimes  found  almost  white — 
vulgarly  denominated  ‘How  hair'’ — in  which  case  use  a very 
pale  wash  of  Yellow  Ochre.  Raw  Sienna  and  Sepia  also  make 
a beautiful  sober  flaxen  tint,  not  being  semi-opaque  like  the 
Ochres.  Shadow  with  the  same.  Sepia  preponderating  ; and  if 
the  photograph  be  light  and  clear,  the  putting  on  of  high  lights 
may  be  dispensed  with  by  leaving  the  local  color  to  represent 
them.  Roman  Sepia  used  very  thinly  makes  an  excellent  color 
for  dark  yellow  flaxen. 

The  translation  which  flaxen  hair  undergoes  in  photography 
has  always  been  a source  of  trouble  to  the  water  colorist.  Be- 
ing required  to  produce  a light  tint  where  the  negative  has  in- 
terposed the  reverse,  he  discerns  no  alternative  but  a free  use  of 
body  color ; unless  a previous  working  upon  the  negative  itself 
(with  lead-pencil  or  blue  paint)  has  been  resorted  to  in  order 
to  obtain  a lighter  basis. 


72 


HOW  TO  PAINT  PHOTOGRAPHS. 


Auburn,  or  ‘‘  Golden  Brown  ” Hair. — Wash  with  Van- 
dyke Brown  if  inclining  to  red  ; and  Burnt  Umber  if  inclining 
to  yellow.  Shadow  with  Warm  Sepia  and  Sepia.  Frequently 
the  photograph  will  be  so  dark  as  to  compel  a first-wash  of 
Burnt  Sienna  to  relieve  the  blackness  ; then  with  Burnt  Umber, 
and  shadow  with  Roman  vSepia.  If  the  photographic  basis  is 
rather  light,  a beautiful  and  useful  wash  can  be  found  in  mixing 
Yellow  Ochre  and  Vandyke  Brown.  Generally  the  lights  for 
auburn  hair  should  be  made  veiy  slightly  purplish. 

Red  Hair. — Wash  with  Venetian  Red  and  Vandyke  Brown 
or  Warm  Sepia  for  a red  tone  ; Venetian  Red  and  Burnt  Sienna 
for  a yellow  tone.  Shadow  with  Sepia  added  to  the  local  wash. 
For  the  lights,  artists  seem  to  have  agreed  upon  a purple  tint 
mixed  with  White.  It  would  seem  more  consistent  to  heighten 
the  lights  by  deepening  the  shadows,  because  it  is  rarely  an  ob- 
ject of  ambition  to  possess  hair  of  this  kind.  Its  more  con- 
spicuous tones  should  be  subdued  and  never  exaggerated  ! 

The  general  tone  of  so-called  Red  hair  is  rather  Orange,  and 
the  true  philosophy  of  color  would  dictate  that,  if  exaggeration  is 
not  desired,  its  complementary  Blue  should  be  kept  as  far  as 
possible  from  it.  Despite  this,  however,  it  is  almost  the  uni- 
versal custom  for  ladies  who  possess  this  color  of  hair  to  wear 
blue  bonnets  and  dresses  ; and  artists  are  thus  compelled  to  in- 
troduce this  objectionable  color  into  their  work,  the  result  being 
only  to  heighten  the  fiery  appearance  of  the  hair-tint.  Green  or 
Lavender  would  .be  vastly  preferable.  Correct  taste  would  further 
suggest  to  the  student  that  he  should  neutralize  or  “ kill it  by 
placing  white  ribbons  or  bands  near  it,  which  would  make  it 
appear  darker ; or  else  by  overwhehning  it  by  the  introduction 
of  a positive  red  among  the  accessories  of  the  picture. 

[ ‘ Ht  is  an  ill  wind  that  does  not  blow  good  to  somebody and 
so  it  happens  that  the  relentless  camera  which  depreciates  Flax- 
en hair  improves  Red  hair,  restrainmg  the  artist’s  efforts  to  ren- 
der to  the  former  its  natural  brilliancy,  but  assisting  him  to  con- 
trol the  offensive  prominence  of  the  latter.  ] 


COLORS  FOR  THE  HAIR. 


73 


Light  Brown  Hair. — Wash  with  Bistre  and  Sepia  mixed, 
or  with  Bistre  alone  if  a greenish  tone  is  wanted  ; shadow 
with  the  same.  Other  hues  for  this  hair  are  found  in  Roman 
Sepia,  and  Burnt  Umber  or  Vandyke  Brown  and  Neutral  Tint 
mixed.  Frequently  the  effect  of  light  brown  hair  cannot  be 
maintained  unless  by  using  a first-wash  of  Yellow  Ochre,  which 
(though  intended  only  to  clear  up  the  photograph  for  working) 
may  sometimes  attain  the  desired  local  tint,  and  be  ready  for 
further  shadowing  with  Bistre. 

Dark  Brown  Hair. — In  general  the  local  color  is  found  in 
Sepia  alone,  which  can  be  lowered  still  more  in  tone  by  the  ad- 
dition of  Neutral  Tint  or  India  Ink.  Shadow  with  the  same, 
and  for  deeper  effects  add  more  India  Ink.  As  in  other  cases, 
a first-wash  may  often  be  required  to  kill  blackness — use  one 
or  more  washes  of  Vandyke  Brown.  Lights  always  gray,  put 
on  very  thinly. 

Gray  Hair. — Work  with  India  Ink  and  very  thin  Neutral 
Tint,  which  may  be  warmed  in  accordance  with  the  hue  desired 
by  adding  a little  Sepia.  Shadow  with  the  same,  the  Sepia  pre- 
dominating ; lights  normal  gray,  heightened  further  by  Chinese 
White. 

[It  may  be  opportune  to  remark  that  a white  cap  upon  the 
gray  hair  of  a lady  will  render  the  gray  less  conspicuous ; whilst 
the  contiguity  of  black,  as  a black  cap  or  ribbons,  will  render 
it  more  apparent  than  may  perhaps  be  desirable.  ] 

The  White  Hair  of  venerable  old  gentlemen  should  be 
worked  with  a gray  formed  of  Cobalt,  Neutral  Tint,  and  Van- 
dyke Brown,  letting  the  brown  appear  most  in  the  retired  parts. 
For  the  few  deeper  lines  use  India  Ink  or  Neutral  Tint;  the 
prominent  white  parts,  Chinese  White.  In  manipulating  this 
hair  avoid  hard  lines  and  a bristling  appearance.  A pure  white 
silky  effect  will  be  much  more  acceptable,  and  characteristic  of 
the  placidity  of  extreme  age. 

Black  Hair. — Although  the  deeper  shades  of  cool  brown  hair 

4 


74 


HOW  TO  PAINT  PHOTOGRAPHS. 


are  commonly  denominated  ‘ ‘ black,  ” there  is  still  that  which 
is  known  as  ‘‘Raven  Black.’'  This  may  be  produced  by  a 
wash  of  the  Compound  Black,  but  it  should  be  of  a cool  tone. 
Or,  if  the  photograph  be  very  dark,  a strong  wash  of  Neutral 
Tint  with  a little  Sepia  may  suffice,  imparting  the  bluish  tone 
as  in  nature.  Shadow  with  Lampblack  and  Sepia,  or  the  for- 
mer alone,  and  work  them  further  with  gum  Arabic  for  strength 
and  definition.  Lights,  Neutral  Tint  and  White. 

[If  the  natural  gloss  of  the  hair  has  produced  an  excess  of 
high  light  in  the  photograph,  it  will  be  necessary  ^to  first  go 
over  this  light  with  a wash  of  Lampblack — this  is  not  unfre- 
quently  the  case.] 


JPainting  the  Eyes. 

The  eye  is  the  life  of  the  face.  Hence  to  achieve  excellence 
in  the  correct  painting  of  this  important  feature,  it  will  compel 
the  student  not  only  to  be  an  observer  of  the  various  descrip- 
tions of  eyes,  but  he  should  also  understand  something  of  the 
philosophy  of  its  construction  as  the  organ  of  sight.  Without 
this  there  will  be  a constant  liability  to  distort  the  shape  of  the 
eye,  and  give  it  a false  expression. 

In  painting  the  eye, — after  designating  the  line  of  the  eyelid, 
— first  draw,  as  finely  as  possible,  the  circumference  line  of  the 
iris  or  colored  portion  of  the  eye.  This  is  advisable  because  it 
assists  in  locating  the  pupil  in  the  exact  centre  ; and  this  may 
now  be  put  in  with  India  Ink  or  Lampblack,  no  matter  of 
what  color  the  iris  is  to  be.  [An  exception  to  this,  however, 
may  sometimes  be  made  in  the  case  of  very  light  blue  or  gray 
eyes,  where  a jet  black  pupil  would  appear  too  harsh  and  de- 
cided, especially  if  the  expression  is  soft  and  mild  ; in  which 
case  it  is  better  to  use  Sepia  alone  or  combined  with  Neutral 
Tint  for  the  pupil.  ] 

It  should  be  remembered  also,  that  as  the  iris  is,  in  most 
photographs,  partially  hidden  by  the  eyelid,  the  pupil  must  be 
located  in  the  centre^  with  respect  also  to  that  portion  which  is  cov- 


PAINTING  THE  EYES. 


75 


ered/  It  should  be  made  somewhat  larger,  too  (especially  in 
that  eye  nearest  the  light),  than  it  is  found  in  the  photograph, 
where  it  appears  reduced  on  account  of  the  contraction  of  the 
iris  when  affected  by  the  strong  light  under  which  the  negative 
was  taken. 

Sometimes  the  pupil  is  scarcely  discernable  at  first  glance,  and 
in  many  copies  of  old  pictures  not  to  be  found  at  all.  In  the  first 
case  the  student  must  (as  it  were)  /eel  for  it ; in  the  second  he 
must  boldly  place  it  there,  taking  care  to  judge  well  of  its  size. 

In  some  photographs  it  will  be  found  that  the  light  striking  the 
ball  of  a rotund  or  protruding  eye,  totally  covers  and  obliterates 
the  pupil  and  gives  to  the  eye  an  appearance  of  blindness — par- 
ticularly the  case  with  dark  or  black  eyes  when  facing  the  light 
too  much.  Those  eyes,  too,  which  have  a ‘ ‘ glassy ''  appear- 
ance, with  light-spots  of  triangular  shape  bearing  such  a resem- 
blance to  rivet-heads,  are  almost  an  affliction  to  the  artist,  and 
to  be  ranked  among  those  incurable  cases  referred  to  under 
the  head  of  ^ ' Portraiture.  ” The  moment  a pupil  is  introduced 
flatness  occurs,  and  the  expression  which  it  had  is  quite  alter- 
ed ; hence  it  is  better  to  endure  the  fault  than  to  make  bad 
worse  by  endeavoring  to  cure  it.  If  the  picture  in  hand  be  a 
copy,  there  is  no  alternative.  Light  eyes  are  scarcely  ever  sub- 
ject to  this  rotund  appearance,  the  pupil  being  almost  invaria- 
ably  distinct. 

Now  proceed  to  wash  in  the  local  color  of  the  iris,  and  follow 
with  the  shadow-tints  as  prescribed  hereafter.  By  this  time  the 
high-light  or  white-spot  of  the  eye  has  been  somewhat  obliter- 
ated ; but  its  exact  position  must  be  remembered,  unless  there 
is  a duplicate  photograph  by  which  to  guide  the  working.  If 
the  local  wash  does  mi  entirely  obliterate  the  white-spot,  do.  so 
with  a slight  use  of  color  or  Lampblack,  which  is  opaque.  In 
the  absence  of  a duplicate,  the  intelligent  student  will  in  most 
cases  be  able  to  re-locate  the  white-spot  by  judging  the  direc- 
tion and  mannei  in  which  the  light  falls  upon  the  whole  face 
and  picture. 


76 


HOW  TO  PAINT  PHOTOGRAPHS. 


Our  reason  for  7'ecommending  that  the  white-spot  be  painted 
out  in  most  cases  is,  that  in  photographs  it  is  always  too  large ! 
whilst  it  can  be  easily  restored,  and  with  additional  brilliancy, 
by  using  Chinese  White  ; and  further,  because  it  would  be  an 
excess  of  trouble  to  reduce  it  in  size  by  working  around  it. 

In  adding  this  light-spot,  it  must  be  done  with  a good  point- 
ful of  White,  and  by  a single  touch — or  at  least  seem  as  though 
it  was  so  done — and  for  this  purpose  a rather  blunt  brush  is 
preferable.  The  spot  should  be  located  upon  the  iris  just  at 
the  edge  of  the  pupil,  in  the  direction  whence  comes  the  light 
into  the  eye  ; and  the  student  will  discover  that  to  place  it  cor- 
rectly is  no  less  easy  than  it  is  simple  and  delicate.  He  will 
perhaps  create  many  squinted  and  blind  eyes  in  his  first  at- 
tempts, but  the  alternative  is  to  paint  out  with  the  local  or 
shadow  color  of  the  iris  and  try  again.  The  white-spot  must 
not  cover  the  pupil  in  the  least  degiee.  In  the  larger-sized 
heads,  however,  it  must  not  be  located  precisely  in  this  way, 
lest  when  viewed  at  the  proper  distance  it  will  appear  to  be  07t 
the  pupil.  Allowance  must  therefore  be  made  for  this  circum- 
stance. 

[Although  the  high-light  spoken  of  is  denominated  the 
‘‘white-spot,”  it  will  not  always  do  to  make  it  white  I As  was 
observed  concerning  jet  black  for  the  pupil,  in  like  manner 
pure  white  may  sometimes  prove  too  definite  for  the  light-spot. 
In  eyes  of  very  mild  expression,  therefore,  the  ‘ ‘ white  ” should 
be  broken  down  to  a light  gray,  as  the  case  may  demand.  ] 

That  portion  of  the  iris  which  lies  in  a direct  line  opposite  the 
high  light  must  be  illuminated  as  it  is  seen  in  nature,  and  with- 
out which  the  painted  eye  will  look  opaque  and  very  dull.  In 
most  cases  this  is  done  by  simply  adding  Chinese  White  to  the 
local  color  of  the  iris,  or  that  part  of  the  iris  may  be  reserved 
light  in  the  previous  shadowing ; but  the  first  method  imparts 
the  most  life  and  brilliancy. 

The  sclerotica  or  “white  of  the  eye”  (as  it  is  commonly 
called)  is  not  to  be  made  white,  or  left  so  in  the  photograph  ; 


COLORS  FOR  THE  EYES. 


77 


but  modified  with  blue  for  children  and  young  persons,  a pearly 
tint  for  middle  life,  and  a slight  yellowish  tinge  for  aged  people. 
The  eye  is  also  the  most  pleasing  when  its  effect  is  soft ; hence, 
if  the  edge  of  the  iris  be  too  rigidly  defined  upon  ‘ ‘ the  white, 
it  is  well  to  subdue  it  with  gray  or  Neutral  Tint. 

The  caruncles,  or  red  fleshy  substances . within  the  inner  cor- 
ners of  the  eyes  will  require  some  bright  color.  Use  Venetian 
Red  and  Pink  Madder,  or  the  Madder  alone.  If  the  corner  be 
dark,  use  Vermilion — carefully.  A little  cool  green  may  some- 

times be  stippled  around  the  socket  of  the  eye ; and  if  the 
upper  lid  be  hanging  (as  in  looking  down),  touch  the  edge  of 
it  with  Indian  Red. 

The  colors  of  the  human  eye  may  be  designated  by  these 
general  terms  : Blue,  Gray,  Hazel,  Brown,  and  Black.  The 
pigments  to  be  used  for  each  kind  are  prescribed  as  follows  : 

Colors  for  the  Eyes. 

Blue  Eyes.  — If  they  are  light  blue,  use  thin  Cobalt ; shadow 
delicately  with  the  same  and  a touch  of  Indigo  ; add  White  to 
Cobalt  for  the  illuminated  part  of  the  iris — if  it  is  not  left  suffi- 
ciently clear  in  the  photograph.  If  they  are  dark  blue,  use  a 
deeper  tint  of  Cobalt,  and  shadow  with  Indigo.  If  deeply, 
darkly,  heautifully  blue''  (as  are  some  children’s  eyes),  the  effect 
can  be  heightened  by  using  French  Blue ; but  carefully,  as  it 
is  a powerful  color. 

Gray  Eyes. — Define  them  delicately  with  India  Ink  and  a 
tinge  of  Cobalt ; if  the  eye  has  been  photographed  with  suffi- 
cient distinctness,  use  Cobalt  alone.  If  of  a bluish-gray,  use 
Indigo  instead  of  the  Cobalt.  Add  White  for  the  illuminating. 
Gray  eyes  often  change  to  yellow  hazel  as  the  person  grows 
older,  and  are  to  be  painted  in  this  transition  state  by  tinting 
the  illuminated  part  slightly  with  Yellow  Ochre,  which  will  pro- 
duce a greenish-yellow  tone. 

Light  (or  Yellow)  Hazel  Eyes. — Use  Yellow  Ochre, 


78 


HOW  TO  PAINT  PHOTOGRAPHS. 


slightly  toned  with  Neutral  Tint  for  the  local  color.  Shadow 
with  Vandyke  Brown,  and  illuminate  delicately  with  White 
added  to  the  local. 

Dark  (or  Brown)  Hazel  Eyes. — For  the  local  color  use 
Vandyke  Brown,  or  if  the  print  is  dark,  use  Burnt  Sienna. 
Shadow  with  Sepia.  Illuminate  with  Burnt  Umber  and  White, 
and  sometimes  Burnt  Sienna  and  White. 

Black  Eyes.^ — Although  all  dark-colored  eyes  are  generally 
called  ‘ ‘ black, reference  is  now  specially  made  to  that  descrip- 
tion of  eye  which  has  its  iris  of  so  deep  a brown  as  to  be  scarce- 
ly distinguishable  from  the  pupil.  They  are  peculiar  to  bru- 
nettes and  people  generally  who  are  from  tropical  countries. 
Use  Sepia  and  Vandyke  Brown  for  the  local  color.  Shadow 
with  the  same,  mixed  with  Neutral  Tint  or  India-Ink.  Illumi- 
nate with  Burnt  Sienna  and  Chinese  White. 

Vainting  the  Cheeks, 

The  nearest  approach  to  the  color  of  the  cheeks  will  be  found 
in  a mixture  of  Pink  Madder  and  Vermilion,  either  color  pre- 
dominating according  to  the  subject.  It  should  be  kept  in 
mind  that  children  ought  to  have  more  Vermilion,  adults  more 
Pink  Madder,  and  old  people  more  of  a purple  tone, — this  last 
being  made  by  adding  a little  Cobalt  to  the  former  mixture, 
provided  the  photograph  itself  does  not  give  a bluish  tone. 

Remember  that  the  use  of  Carmine  or  Crimson  Lake  is  not 
recommended  for  carnations  ; the  one  being  too  bright,  the 
other  too  purple, — and  both  are  fugitive.  On  the  contrary,  all 
the  Madders  are  durable  and  in  every  respect  better.  Pink  and 
Rose  Madder  seeming  to  differ  only  in  intensity,  may  be  used 
according  to  the  option  of  the  student.  Either  can  be  used  for 
men,  but  Vermilion  should  be  added  for  young  women  and 
children. 

In  applying  the  carnations,  observe  the  grades  of  color  and 
light  on  the  cheek-bones,  and  do  not  lay  out  the  cheek-tint  in 


PAINTING  THE  LIPS. 


79 


a circular,  but  in  a triangular  form,  having  its  angles  at  the  tem- 
ple, lower  jaw,  and  the  nostrils.  In  no  case  should  the  carna- 
tions be  washed  on,  but  always  stippled ; although  in  very  large 
pictures  they  can  be  hatched. 

Painting  the  Chin, 

In  nature  the  chin  being  somewhat  of  a redder  tone  than  the 
surrounding  color,  it  is  to  be  treated  in  like  manner  as  the 
cheeks,  though  in  a very  slight  degree  ; and  care  must  be  used 
not  to  commit  the  error  of  over-tinting. 

Painting  the  Lips, 

The  upper  lip  being  nearly  always  in  shadow,  is  both  darker 
and  less  bright  in  color  than  the  lower  lip.  If  the  mouth  in 
the  photograph  be  not  too  dark,  use  Indian  Red  with  a little 
Crimson  Lake  for  the  upper  lip  ; if  dark,  use  Pink  or  Rose 
Madder  heightened  with  Vermilion.  For  the  lower  lip,  wash 
it  first  with  thin  Vermilion,  or  Orange  Chrome  and  Rose  Mad- 
der, and  in  either  case  model  and  shade  it  afterwards  by  stip- 
pling with  Pink  Madder.  Observe  that  in  painting  both  lips, 
the  more  distant  parts  are  to  be  less  vivid  in  color. 

The  lips  of  children  require  more  Vermilion,  and  those  of 
aged  persons  more  Pink  Madder, — not  unfrequently  approxi- 
mating a slight  purple  tone. 

The  painting  of  the  mouth  is  perhaps  the  most  delicate  and 
hazardous  of  all  the  features,  on  account  of  its  variableness  of 
expression.  In  defining  the  partition-line  between  the  lips,  the 
slightest  deviation  will  alter  its  character  and  damage  the  por- 
trait. Especially  so  at  the  corners  of  the  mouth,  wherein  most 
of  the  expression  lies.  Hence  it  behooves  the  student  to  con- 
sider well  its  distinctive  marks  as  photographed,  before  com- 
mencing, and  work  throughout  with  the  utmost  care. 

As  has  been  already  observed  respecting  the  carnations,  it 
will  be  well  to  paint  the  lips  with  a full  tone  of  color  ^ in  order  to 
provide  against  the  unavoidable  deterioration  which  time  will 
effect. 


8o 


HOW  TO  PAINT  PHOTOGRAPHS. 


Vainting  the  Ears, 

In  painting  the  ear,  which  is  semi-transparent,  let  the  shad- 
ows be  made  warm  and  inclining  to  red.  The  inside  of  the 
ear  should  be  colored  with  Pink  Madder  and  Indian  or  Vene- 
tian Red,  and  the  tips  very  lightly  with  Rose  or  Pink  Madder 
alone. 

The  ear  should  always  be  well  toned  down,  so  that  it  will  set 
back,  and  be  wholly  secondary  to  the  more  important  lights. 

A large  or  prominent  ear  is  considered  ever  an  ugly,  unsightly 
object ; and  as  it  is  an  organ  without  being  a feature  it  should 
never  be  painted  in  a manner  that  would  increase  its  conspi- 
cuity.  If  practicable,  it  is  more  judicious  to  partially  cover  it 
with  the  hair, — which  can  be  done  in  most  pictures  without 
materially  changing  the  drawing. 

Painting  the  Neeh  and  Eosom. 

The  general  tint  of  the  neck,  as  it  will  be  noticed  in  nature, 
is  much  below  the  color  of  the  face,  and  invariably  of  a grayer 
tone.  The  flesh-wash  might  therefore  be  somewhat  reduced 
for  the  neck,  and  the  pearly  tints  added  to  a more  considerable 
degree.  The  clavicles  or  collar-bones  peering  through  the 
flesh,  are  to  be  sometimes  tinged  slightly  with  Pink,  but  great 
care  should  be  used  to  avoid  rendering  them  too  distinct  and 
angular.  The  shadows  of  the  bosom  are  usually  of  a bluish 
tint. 

Although  a well-curved  neck,  and  round,  plump  shoulders 
do  not  by  any  means  appear  in  the  majority  of  photographs  of 
ladies  so  taken,  the  colorist  may  very  safely  assume  the  privilege 
of  correcting  the  drawing  of  his  picture,  so  as  to  produce  these 
desirable  elements  of  physical  beauty.  Few  ladies  will  object  to  " 
any  roundness  of  the  neck  or  graceful  droop  of  the  shoulders 
which  it  may  be  possible  for  the  artist  to  bestow  on  their  pic- 
tures. Some  delicate  touches  of  Pink  Madder  can  be  put  on 
the  extreme  point  of  the  shoulders ; whilst  Indian  Red  and 
Cobalt  will  serve  to  shadow  the  flesh  around  the  arm-pit.  - 


PAINTING  THE  ARMS  AND  HANDS. 


Painting  the  Arms  and  Hands. 

The  foregoing  remarks  apply  somewhat  to  the  painting  of 
the  arms,  although  the  lower  arm  often  partakes  of  a very  slight 
purple  hue.  Indian  Red  alone  can  be  used  for  the  first  tints, 
working  over  them,  when  necessary,  with  Blue  ; and  observing 
the  reflected  lights,  which  are  always  to  be  kept  warm.  The 
elbows  should  be  tinted  with  Pink  Madder,  but  delicately  ; and 
any  disagreeable  angularity  rounded  off — as  before  observed. 

The  HANDS  in  most  photographs,  by  reason  of  their  distance 
from  the  focus-point  of  the  camera  (generally  directed  to  the 
face),  are  disagreeably  enlarged  ; and  in  some  cases  partially 
shadowed.  For  these  reasons  it  is  often  desirable  to  cut  them 
down,  shorten  the  fingers,  cover  them  with  thin  drapery,  or 
‘ ^ paint  them  out  ” entirely. 

When  the  division-lines  of  the  fingers  are  light  or  somewhat 
indistinct  they  may  be  drawn  with  Brown  Madder,  or  Sepia  and 
Crimson  Lake.  If  already  rather  dark,  use  Light  Red  or  Burnt 
Sienna. 

The  tips  of  the  fingers,  the  knuckles,  and  the  outside  of  the 
hands  are  more  rosy  than  the  other  parts,  and  require  to  be 
hatched  with  a little  Pink  Madder.  Before  doing  this,  how- 
ever, it  may  be  advantageous  to  rub  out  the  flesh-wash  a little  in 
these  particular  parts  ; and  when  the  hands  are  perfectly  flat — • 
as  in  old  copies — and  without  definition  and  modelling,  this 
rubbing  out  of  a portion  of  the  flesh-wash  assists  very  greatly 
the  raised  appearance  of  the  knuckles,  and  other  lights. 

A liberal  use  of  Cobalt  in  the  hands  is  recommended — par- 
ticularly for  those  of  women  and  children — in  order  to  attain 
clearness  and  the  appearance  of  veins.  This  effect  is  also  more 
necessary  for  female  hands,  the  skin  of  which  is  intended  to  ap- 
pear very  fair  and  transparent. 

The  general  tone  of  color  in  the  hands  should  be  very  much 
below  that  of  the  face  (except  when  the  head  rests  upon  one  of 
them),  so  that  they  shall  not  first  attract  the  beholder's  eye, 
which  always  to  be  drawn  involuntarily  to  the  face, — the 

portrait ! 


Tlw  Selection  of  Colors, 

It  is  not  at  all  an  unfrequent  circumstance  that  photograph 
painters  are  desired,  and  even  necessitated  to  choose  the  colors 
for  the  drapery  of  the  work  in  hand  ; although  the  general 
practice  is  to  obtain  full  directions  on  all  points  from  the  origi- 
nals or  their  friends.  This  is  decidedly  the  safest  plan,  as  it  is 
not  impossible  that  the  painter  might  select  a color  which  the 
original  never  wore  (perhaps  disliked  !)  ; whereas  the  painters 
duty  aims  to  realize  the  exact  life-look  and  color  of  his  subject. 

The  object  of  all  decoration  in  dress  being  to  improve  or  set 
off  to  the  greatest  advantage  the  personal  appearance  of  the 
wearer,  it  follows  that  the  colors  employed  should  be  suitable  to 
the  complexion,  in  perfect  harmony  with  the  rest  of  the  attire, 
and  have  reference  also  to  age  and  condition. 

In  regard  to  pictures  of  men  there  is  scarcely  room  for  choice  ; 
and  hence  the  student  will  have  no  difficulty  in  adapting  the 
few  sober  colors  which  the  palette  affords,  in  addition  to  the 
‘ ‘ customary  suit  of  solemn  black. But  for  pictures  of  women 
and  children  the  opportunity  of  selection  is  a great  one,  and 
furnishes  ample  scope  for  the  display  of  knowledge  and  taste. 

For  the  benefit  of  those  who  have  not  previously  regarded 
colors  in  a scientific  or  artistic  light  it  may  be  very  proper  to  add 
some  general  directions  relative  to  the  juxtaposition  of  complex" 
ions  and  their  appropriate  drapery-colors. 


COLORS  FOR  THE  DRAPERY. 


83 


The  following  paragraphs  are  condensed  from  the  excellent 
treatise  by  M.  E.  Chevreul,  the  Philosopher  of  Color,  and  the 
best  of  all  authorities  on  this  subject. 

Red  Drapery. — Pink-red  cannot  be  put  in  contact  with  the 
rosiest  complexions  without  causing  them  to  lose  some  of  their 
freshness.  If  it  is  unavoidable,  however,  separate  the  pink  from 
the  skin  in  some  manner ; and  the  simplest  way  of  doing  this 
is,  to  edge  the  draperies  with  a bordering  of  lace  or  tulle,  which 
produces  the  effect  of  gray. 

Dark  red  is  less  objectionable  for  certain  complexions  than 
pink-red,  because,  being  higher  than  this  latter,  it  tends  to  im- 
part whiteness  to  them  on  account  of  the  contrast  of  tone. 

Green  Drapery. — A delicate  green  is  favorable  to  all  fair 
complexions  which  are  deficient  in  rose  tint,  and  which  may 
have  more  imparted  to  them  without  objection.  But  it  is  not 
as  favorable  to  complexions  that  are  more  red  than  rosy,  nor  to 
those  which  have  a tint  of  orange  mixed  with  brown,  because 
the  red  they  add  to  this  tint  will  be  of  a brick-red  hue.  In  the 
latter  case  a dark  green  will  be  less  objectionable  than  a deli- 
cate green. 

Yellow  Drapery. — Yellow  imparts  violet  to  a fair  skin,  and 
for  this  reason  it  is  less  favorable  than  the  delicate  green.  To 
those  complexions  which  are  more  yellowish,  it  imparts  white  ; 
but  this  combination  is  very  dull  and  heavy,  if  used  for  a fair 
complexion. 

When  the  skin  is  tinted  more  with  orange  than  yellow,  we 
can  make  it  roseate  by  neutralizing  the  yellow — which  makes 
it  thus  appropriate  for  brunettes. 

[Pale  yellow  or  greenish-yellow  suits  no  one,  especially  those 
with  pale  complexions.  Its  effect  is  to  diffuse,  by  contrast,  a 
purple  hue  over  the  complexion,  and  this  is  certainly  no  addi- 
tion to  beauty.  ] 

Yiqlet  Draperies. — Violet,  the  complementary  of  yellow, 


84 


HOW  TO  PAINT  PHOTOGRAPHS. 


produces  contrary  effects  ; thus  it  imparts  some  greenish-yellow 
to  fair  complexions.  It  augments  the  yellow  tint  of  yellow-and- 
orange  skins.  The  little  blue  there  may  be  in  a complexion- it 

makes  green.  Violet  is  therefore  one  of  the  colors  which  har- 

monize least  favorably  with  the  skin  ; and  especially  if  it  is  not 
sufficiently  deep  to  whiten  it  by  contrast  of  tone.  Mauve,  and 
its  varieties,  are  also  included  in  this  category. 

Blue  Drapery. — Blue  imparts  orange,  which  is  susceptible 
of  allying  itself  favorably  to  white  and  the  light  flesh  tints  of 
fair  complexions,  which  have  already  a more  or  less  determined 
tint  of  this  color.  Blue,  especially  sky-blue,  is  consequently 
suitable  to  most  blondes  ; but  will  not  suit  brunettes,  since  they 
have  already  too  much  of  the  orange-tint. 

Orange  Drapery. — Orange  is  too  brilliant  to  be  elegant. 
It  renders  fair  complexions  blue — whitens  those  which  have 
an  orange-tint — and  gives  a green  hue  to  those  of  a yellow  tint. 

White  Drapery. — Drapery  of  a lustreless  white,  such  as 
cambric  muslin,  accords  well  with  a fresh  complexion,  of  which 
it  relieves  the  rose-color ; but  it  is  unsuitable  to  complexions 
which  have  a disagreeable  tint, — because  the  effect  of  white  is 
to  exalt  a color  by  raising  its  tone — and  hence  whatever  may 
be  objectionable  in  the  flesh-tint,  the  contrast  with  white  will 
only  render  it  more  so. 

Very  light- textured  fabrics,  however,  such  as  lace  or  open- 
worked  drapery,  produce  an  entirely  different  result.  They  ap- 
pear more  gray  than  white  ; the  threads,  which  reflect  light,  and 
the  interstices,  which  absorb  it,  producing  the  effect  of  a mixed 
surface  of  black  and  white.  In  this  respect,  all  white  drapery 
which  allows  the  light  to  pass  through  its  interstices  must  be 
regarded  as  being  gray  rather  than  white,  and  can  be  used  for 
the  purposes  of  gray. 

Black  Drapery. — Black  draperies,  lowering  the  tone  of  the 
colors  with  which  they  are  in  juxtaposition,  whiten  the  skin. 


PAINTING  THE  DRAPERY. 


85 


But  while  this  lowering  does  not  take  place  to  any  very  great 
extent,  unless  the  black  is  in  actual  contact  with  the  color,  it 
has  the  effect  of  heightening  the  cheeks,  if  the  white  skin  inter- 
venes ; the  former  appearing  redder,  and  the  latter  whiter  than 
they  would  if  the  black  drapery  did  not  exist. 

No  matter  whether  the  complexion  be  dark  or  fair,  the  color 
should  never  be  placed  next  the  skin,  but  should  be  parted 
from  it  by  the  hair  or  by  a ruche  of  tulle,  which  produce  the 
neutralizing  effect  of  gray. 

Colors  for  the  Head-Dress, 

If  we  notice  the  tints  which  are  generally  considered  as  har- 
monizing best  with  light  or  dark  hair,  we  will  discover  that  they 
are  those  which  produce  the  greatest  contrast.  Thus,  sky  blue, 
which  is  known  to  accord  well  with  blondes,  is  the  color  ap- 
proaching nearest  to  the  complementary  of  orange,  which  is 
(philosophically  considered)  the  basis  of  the  tint  of  their  hair 
and  complexions. 

In  the  same  manner,  yellow  and  red — more  or  less  orange — • 
are  two  colors  which  accord  very  favorably  with  black  hair. 
These  colors,  yellow  and  orange  red,  contrasting  by  color  and 
brilliancy  with  black  ; and  their  complementaries,  violet  and 
blue  green,  in  mixing  with  the  tint  of  the  hair,  are  far  from  pro- 
ducing a bad  result. 

The  student  will  not  forget  that  his  colors  must  be 
chosen  as  a harmonious  whole  ; for  a color  which  may  be  favor- 
ably adapted  to  the  hair  may  yet  produce  a disagreeable  effect 
with  the  skin,  and  vice  versa. 

JPainting  the  Drapery, 

The  quality  and  style  of  drapery  being  already  indicated  in 
the  photograph,  the  student  will  find  that  his  special  attention 
must  be  given  to  the  preservation  of  the  natural  folds  and  other 
general  characteristics  of  the  fabric.  As  the  application  of  his 


86 


HOW  TO  PAINT  PHOTOGRAPHS. 


local  color  will  to  some  extent  obliterate  many  of  the  lighter 
lines  of  the  photograph,  he  will  also  perceive  how  very  advan- 
tageous it  is  to  possess  himself  of  a previous  knowledge  of  the 
manner  in  which  various  fabrics — cloth,  silk,  satin,  velvet,  linen, 
damask,  etc. — break  up  into  folds  ; together  with  ability  to  dis- 
cern their  characteristic  lights  and  shadows. 

This  knowledge  indeed  may  be  considered  as  absolutely  neces- 
sary^ from  the  fact  that  in  many  photographs  the  lights  are  so 
intense  and  the  shadows  so  deep  that  all  the  intermediate  lines 
disappear,  and  the  student  is  left  to  depend  wholly  on  his  own 
ability  to  supply  the  deficiency.  Experience  teaches  also  that 
occasionally  in  restoring  pictures  from  old  ’types  and  bad  pho- 
tographs the  artist  must  supply  the  drapeiy  entirely. 

With  this  exigency  ever  likely  to  occur,  the  diligent  student 
will  feel  it  a duty  to  inform  himself  concerning  the  fundament- 
al rules  on  this  subiect.  Let  him  remember  that  drapery  is  in- 
tended to  cover  but  not  to  hide  the  form  ; and  that,  as  the  in- 
equalities of  the  stream’s  bed  are  discoverable  by  the  rippling 
water  that  runs  over  it,  so  the  posture  and  shape  of  the  mem- 
bers ought  to  be  discernible  by  the  folds  of  the  garment  that 
covers  them.  The  drapery  should  ccwer  the  body  as  if  to  show  it. 

Endeavor  to  comprehend  the  rationale  of  drapery  ; how  the 
folds  originate  from  those  points  where  it  is  held,  enlarging  as 
they  recede,  spreading  where  unconfined,  or  changing  their 
course  where  they  ^mcet  with  resistance.  On  the  whole.  Dra- 
pery is  one  of  the  most  important  branches  of  our  art, — con- 
tributing very  materially  to  the  life,  character,  and  success  of 
the  picture, — and  it  therefore  demands  attention  and  study. 

The  practical  operation  of  drapery-painting  is  reducible  to 
two  general  methods,  the  choice  being  left  to  the  student,  who 
will  decide  according  to  the  folds  whether  they  be  distinct  (i)  or 
obscure  (2)  in  the  photograph  on  hand. 

These  methods  may  be  described  respectively  as  follows  : 

First.  — Go  over  the  fabric  with  a thin  wash  of  the  local  color, 
principally  to  moisten  the  surface.  Then  define  the  folds,  be- 


PAINTING  THE  DRAPERY. 


87 


ginning  with  the  larger  ones  which  give  shape  to  the  masses. 
After  these  are  completely  absorbed  proceed  with  additional 
washes — three  should  suffice  for  any  case  whatever — until  a 
proper  weight  or  body  of  color  has  been  reached  ; all  of  which 
must  be  governed  by  the  photograph  itself,  whilst  also  keeping 
in  view  the  tone  desired  for  the  drapery  when  finished.  Upon 
this  basis  the  deeper  shadows  are  to  be  worked  before  it  is  en- 
tirely dry,  so  that  their  edges  will  blend  into  the  local  color. 
The  high  lights  should  not  be  laid  on  until  the  previous  work 
is  entirely  dry. 

By  laying  the  washes  one  over  the  other  as  directed — instead 
of  applying  the  local  with  its  requisite  strength  at  once — the 
effect  of  texture  is  gained,  and  an  evenness  of  tint  which  would 
not  result  otherwise.  If  the  photograph  be  quite  strong  in  the 
shadows  and  bright  in  the  lights,  there  will  be  no  necessity  for 
defining  the  former  until  the  local  color  has  been  decided,  be- 
cause (it  may  be  presumed,)  they  will  be  sufficiently  discerni- 
ble through  the  local. 

As  has  been  before  observed,  the  shadow-tint  should  in  all 
cases  not  be  too  strong  or  thick,  as  it  is  intended  only  partially 
to  obscure  the  local  color,  not  to  hide  it ; which  it  would  do  if  it 
were  made  too  powerful,  besides  imparting  a hard,  patchy  ap- 
pearance. 

In  shadowing,  neioer  work  across  the  folds,  but  always  carry 
the  brush  in  the  direction  which  they  run  ; and  from,  not  to, 
the  outline.  A cameks-hair  brush  is  perhaps  better  adapted 
for  laying  in  the  draperies  than  a sable  one,  because  the  color 
flows  from  it  more  freely  and  the  markings  of  the  brush  are  not 
perceptible. 

Second. — This  is  only  a reverse  manner  of  working,  necessi- 
tated by  the  want  of  definition  in  the  photograph — occasioned 
by  bad  focussing,  poor  negatives,  and  a variety  of  ills  that  pho- 
tography is  heir  to. 

In  this  method,  work  up  the  folds — guided  by  the  duplicate 
photograph  or  original,  which  this  process  renders  necessary  to 


88 


HOW  TO  PAINT  PHOTOGRAPHS. 


have  at  hand — until  they  are  sufficiently  distinct  to  permit  a 
good  wash  of  the  local  color.  In  order  to  soften  the  edges  of 
the  shadows  in  defining  the  folds,  it  is  preferable  to  lay  them 
out  broadly  at  first  with  a rather  thin  tint,  adding  the  stronger 
touches  inside ; and  others  if  necessary  still  inside  the  last. 
There  are  instances,  however,  where  the  edges  of  the  fabric  over- 
lap, as  in  gentlemen’s  coat-collars,  etc. , when  harder  lines  should 
be  used.  The  student  should  also  guard  against  too  great 
minuteness  in  detailing  every  fold  ! He  must  omit  repetitions 
and  continuations,  and  endeavor  to  maintain  breadth  and  char- 
acteristic variety  of  line. 

The  shadows  being  fully  defined  add  another  wash  or  so,  of 
considerable  strength,  and  the  work  should  be  complete. 

In  making  the  wash  over  a shadow  already  defined,  it  must 
be  done  at  once,  with  one  sweep,  not  allowing  the  brush  to  work 
back — or  twice  over  the  same  spot — else  the  shadows  may 
‘‘wash  up”  and  the  smoothness  of  the  work  be  destroyed. 
Remember  that  each  wash  must  be  completely  absorbed,  and  par- 
tially dry,  before  another  follows,  and  entirely  dry  before  the 
high  lights  are  added. 

As  a general  rule  in  regard  to  draperies,  it  may  be  remarked 
' that  the  lights  and  the  middle  tints  are  always  cool,  and  the 
shadow  colors  should  be  warm.  The  larger  shadows  will  per- 
haps need  hatching  over  to  make  them  appear  transparent. 

White  Drapery. 

That  portion  of  every  photographic  picture  designated  (and 
intended  to  represent  that  which  was  in  the  original  subject) 
“white,”  will  upon  examination  prove  to  be  anything  but  white. 
This  is  readily  proven  by  laying  a piece  of  clean  white  paper 
beside  it — the  discoloration  being  attributable  to  the  action  of 
the  various  chemical  processes  which  the  photograph  must  un- 
dergo, and  somewhat  to  the  printing.  Hence  it  becomes  as 
necessary  to  paint  white  (although  the  picture  is  supposed  to  be 
upon  white  paper, ) as  it  is  any  of  the  acknowledged  colors. 


WHITE  DRAPERY. 


89 


In  treating  white  drapery  : for  the  middle  shadow-tints  use  a 
gray  composed  of  Cobalt,  Yellow  Ochre,  and  a little  Crimson 
Lake.  Another  useful  gray  for  delicate  shadows  is  composed 
of  Cobalt,  Raw  Sienna  and  Rose  Madder.  Work  the  shadows 
with  Cobalt  and  Vandyke  Brown,  and  a further  use  of  Cobalt 
and  Sepia,  or  Neutral  Tint  and  Vandyke  Brown  is  necessary 
for  still  deeper  effects. 

For  ordinary  purposes  use  Chinese  White  on  the  high  lights  ; 
although  Flake  White  is  sometimes  preferable  (especially  for  the 
smaller  pictures),  as  it  is  more  delicate,  and  will  not  give  the 
lights  quite  such  a solid  appearance.  In  painting  laces,  how- 
ever, and  all  articles  which  want  the  effect  of  body  and  need  to 
be  manipulated  with  touches.  Flake  should  give  place  to  Chi- 
nese White. 

When  the  white  drapery  occurs  in  actual  contact  with  any 
other,  especially  the  dark  colors — as  in  the  case  of  the  linen 
bosom  under  a black  vest,  the  cravat  as  it  appears  against  the 
shirt  collar  or  its  ends  lie  upon  the  bosom,  and  any  part  not  in- 
tended to  appear  sharp  or  protrusive — the  strong  contrast  causes 
the  edges  of  each  to  appear  very  hard.  Consequently  it  will 
become  necessary  to  interpose  a connecting  tint  that  shall  mod- 
ify the  harsh  contrast  and  give  softness  to  both.  This  can  be 
done  by  breaking  down  the  edges  of  the  white  with  gray — one 
of  those  before  mentioned — according  to  circumstances. 

It  very  frequently  happens  in  vignette  photographs  of  gentle- 
men, that  the  body  (bust)  will  be  completely  sundered  by  having 
the  print  cut  off  in  vignetting  at  a point  before  it  reaches  the 
first  button  of  the  vest.  This  effect  also  results  in  a vignette 
where  the  gentleman  has  not  worn  a vest.  It  remains  there- 
fore for  the  painter  to  interpose  a connection  between  the  two 
masses  of  drapery ; and  this  can  be  done  by  shading  the  lower 
part  of  the  shirt  bosom,  keeping  the  upper  part  in  full  light. 
Without  this,  the  body  looks  like  a map,  the  bosom  remains 
too  flat,  and  the  whole  would  be  very  incomplete.  It  is  vastly 
preferable  that  when  the  vest  is  a low,  double-breasted  one,  the 
photograph  should  be  printed  as  far  as  the  first  button. 


90 


HOW  TO  PAINT  PHOTOGRAPHS. 


White  drapery  is  usually  somewhat  modified  by  the  colors  of 
surrounding  objects  and  background,  and,  of  course,  its  shadows 
and  middle  tones  will  also  partake  of  the  same. 

The  Use  of  the  THmary  Colors : For 
Yellow  Draperies. 

The  principal  of  these  are  as  follows  : 

Lemon  Yellow — Which  may  be  shadowed  with  Roman 
Ochre  and  Vandyke  Brown  ; it  is  semi-opaque  and  does  not 
answer  for  delicate  washes. 

Indian  Yellow — Which  is  very  warm,  and  the  shadows  of 
which  should  be  brown,  slightly  purple — Vandyke  Brown  and 
a little  Purple  Madder. 

Yellow  Ochre — Which  is  a pale,  sober  tint ; the  shadows 
of  which  can  be  made  with  Raw  Umber  and  Roman  Sepia. 

Cadmium — Which  is  a rather  orange  tint ; can  be  shaded 
with  Cadmium  itself.  Burnt  Sienna,  and  Sepia  for  depth. 

Roman  Ochre — Which  is  a brownish-yellow,  semi-opaque  ; 
and  can  be  shaded  with  Burnt  Sienna  and  Vandyke  Brown, 
using  them  separately  in  the  order  named. 

For  the  high  lights  of  all  the  above  yellows,  add  Chinese 
White  to  the  local  color. 

Fed  Draperies. 

Under  this  general  head  may  be  classed  three  general  divi- 
sions, as  follows  : 

Pink — Is  simply  a reduction,  with  water  or  Chinese  White, 
of  Lake  or  Carmine  ; although  Rose  or  Pink  Madder  alone 
answer  much  better  for  this  color.  It  may  be  delicately  shadow- 
ed with  its  own  stronger  tint,  or  a lilac  by  adding  Cobalt  to  the 
local  color,  and  the  deeper  shadows  with  Scarlet  Lake.  The 
lights  may  be  heightened  with  a thin  over-wash  of  Flake  White. 


RED  DRAPERIES. 


91 


The  delicateness  and  permanency  of  the  Madders  render  them 
by  far  the  most  desirable. for  pink  drapery. 

Crimson. — Lake  will  be  found  sufficient  for  all  ordinary  pur- 
poses and  susceptible  of  beautiful  effects.  Carmine  is  more 
brilliant  and  powerful,  though  not  so  desirable.  The  addition 
of  Sepia  will  shadow  the  Lake.  When  Carmine  is  used  the 
addition  of  Lake  will  do  for  the  lighter  shadows,  and  Sepia  and 
Lake  for  the  heavier.  When  a crimson  hue  is  to  be  laid  upon 
a rather  dark  basis — as  a heavy  curtain — Carmine  is  preferable, 
because  it  is  more  effective  to  “kill”  the  black.  For  high 
lights  on  the  Lake  add  White  ; on  the  Carmine,  a few  lines  and 
touches  of  red  pencil  or  hard  pastel  gives  the  finest  result. 

Scarlet  Lake  also  affords  an  excellent  high-toned  crimson, 
and  should  be  used  whenever  the  purplish  tinge  of  Crimson 
Lake  renders  it  too  dull  and  undesirable  ; but  it  is  not  quite 
transparent. 

Among  the  crimsons  it  will  be  proper  to  class  Garnet,  which 
only  requires  that  Sepia  or  some  other  cool  brown  be  added  to 
Crimson  Lake  ; and  Wine-color,  a beautiful  hue  which  results 
from  first  washing  with  Dragon’s  Blood  and  afterwards  deepen- 
ing with  Lake.  Put  on  high  lights  of  the  latter  with  red  pencil. 

Scarlet. — The  different  hues  can  generally  be  produced  with 
the  Vermilions.  Scarlet  Vermilion  and  Carmine  make  a splen- 
did but  opaque  tint ; whilst  another  more  transparent — applica- 
ble for  silks,  etc. — can  be  made  with  Indian  Yellow  and  Car- 
mine. Vermilion,  if  used  alone,  can  be  increased  in  brightness 
by  laying  under  it  a strong  tint  of  Cadmium  or  Indian  Yellow. 
The  shadows  of  scarlet  may  be  worked  with  Lake  and  Sepia  ; 
and  for  the  high  lights  add  Indian  Yellow  or  Cadmium  and 
Chinese  White  to  the  local  color. 

The  other  red  pigments.  Light,  Indian,  and  Venetian,  are 
not  likely  to  be  wanted  in  photographic  draperies  ; at  least  not 
for  general  application,  although  they  may  often  serve  as  bases 
or  first-washes  for  those  above  mentioned. 


92 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  red  parts  having  been  transmuted  to  dark  in  the  photo- 
graph, and  which  are  to  be  painted  red  again,  are  usually  much 
assisted  by  a wash  preparatory  to  the  local  color.  Vermilion, 
especially  Scarlet  Vermilion,  and  sometimes  Orange  Chrome 
may  be  used  to  ‘ ‘ kill  ’’  the  blackness. 

When  it  is  intended  the  picture  shall  contain  a large  quantity 
of  red,  it  is  always  best  to  put  on  the  local-washes  of  these  red 
parts  before  giving  attention  to  the  flesh  ; if  this  is  not  done  and 
the  flesh  is  worked  first,  disappointment  will  ensue — as  the  over- 
powering mass  of  positive  red  will  ‘ ‘ kill  the  carnations,  and 
oblige  the  student  to  repeat  his  work.  He  may  be  able  to  do 
otherwise  after  some  experience,  but  this  plan  is  always  the 
safest. 

JBlue  Draperies, 

Except  as  an  accessory,  blue  is  regarded  to  be  a cold,  disa- 
greeable color  and  extremely  difficult  to  harmonize  with  others  ; 
at  least  within  the  limits  of  a photographic  painting.  There- 
fore if  blue  must  be  used,  the  student  should  endeavor  to  “kill  ” 
it  as  far  possible  with  warm,  brownish  shadows,  so  as  to  make 
the  local  color  appear  negative  or  only  hlueisk  ; and  use  pure 
blue  only  in  the  highest  lights.  In  like  manner,  when  painting 
military  uniforms,  the  tone  may  be  rendered  warm  by  kiting  the 
mass  of  raw  blue  with  a slight  addition  of  Lake.  Blue  is  often 
a favorite  color  with  ladies,  and  hence  if  it  becomes  necessary  to 
paint  a dress  blue,  the  colors  of  all  the  accessories  should  be 
determined  with  a view  to  destroy  its  obtrusive  predominance. 

The  respective  merits  of  the  blues  have  been  elsewhere  men- 
tioned. In  draperies  of  this  color  the  lights  and  half-lights  are 
cold,  but  the  shadows  must  be  warmed  with  Lake  or  Sepia.  Co- 
balt may  be  used  as  a local  color  for  the  lighter  tints  ; French 
Blue  for  the  more  intense,  and  to  this  add  Indigo  for  the  deepest. 

When  black — black  lace,  for  instance — is  contrasted  with  a 
deep  blue,  the  former  should  be  made  warm  ; instead  of  actual 
black,  warm  browns  may  be  used — and  these  by  contrast  will 
appear  black. 


COMPOUND  COLORS  FOR  DRAPERIES. 


93 


Compound  Colors  for  Draperies. 

Green — Is  a vety  powerful  color  and  a disagreeable  one  if 
used  in  large  masses.  The  simple  compound  of  any  yellow 
with  a blue  forms  green,  but  the  respective  gradations  of  hue 
and  tone  in  each  component  produces  corresponding  results 
when  mixed  together.  If  clear,  bright  green  is  desired  it  must 
be  formed  of  positive  hues  of  yellow  and  blue — and  vice  versa. 

The  different  varieties  of  green  may  be  composed  as  follows  : 
Indian  Yellow  with  Prussian  Blue  or  Indigo  ; Burnt  Sienna 
and  Indigo,  a beautiful  russet ; Sepia  and  Indigo,  a drab,  dull 
green  ; all  of  which  are  transparent  and  reducible  to  the  lightest 
washes. 

Gamboge  and  Cobalt  form  a pea  or  cold  light  green  ; Gam- 
boge and  Prussian  Blue  make  the  brightest,  most  positive,  and 
best  known  green  ; and  additional  low-toned  hues  can  be  form- 
ed by  adding  the  broken  yellows  (Roman  Ochre,  Raw  Sienna, 
Brown  Pink,  Yellow  Ochre,  etc.),  or  some  of  the  lighter  and 
warmer  browns  (Burnt  Umber,  Vandyke  Brown,  Roman  Sepia, 
etc.),  to  the  blues  and  Indigo.  These  are  not  entirely  trans- 
parent and  not  so  useful  for  the  more  delicate  draperies.  Add 
Chinese  White  for  the  lights. 

However,  when  blackness  is  to  be  overcome,  the  transparent 
mixtures  named  must  yield  to  the  green  containing  Gamboge, 
which  on  account  of  its  turbidness  is  only  the  more  valuable 
for  this  purpose. 

The  pigment  known  as  Prussian  Green  furnishes  to  hand  a 
splendid  hue  in  drapery,  and  is  suitable  and  useful  for  curtains, 
cushions,  and  dark  silk  dresses.  Its  proper  high  light  is  the 
prepared  Emerald  Green,  which  can  be  still  further  heightened 
with  Chinese  White. 

Purple. — The  various  hues  of  purple — lavender,  violet,  lilac, 
plum,  etc. — are  formed  with  the  blues  and  crimsons.  Enough 
has  been  said  of  these  as  simple  colors,  to  direct  the  student’s 
choice  in  compounding  them.  The  lighter  and  more  delicate 


94 


HOW  TO  PAINT  PHOTOGRAPHS. 


can  be  produced  with  the  Madders  and  Cobalt ; the  darker  and 
stronger  with  Carmine  or  Lake  and  Prussian  Blue  or  Indigo. 
French  Blue  and  Crimson  Lake  form  a very  bright  and  clear 
shade  which  is  of  great  use.  All  purples  may  be  subdued  with 
Sepia.  Make  the  shadows  with  local  color  and  Madder  Brown  ; 
and  if  they  are  to  be  very  heavy,  the  dark  shade  may  be  obtain- 
ed with  Madder  Brown  and  Purple  Lake.  High  lights,  local 
color  and  Chinese  White. 

Orange. — The  ordinary  compound  is  formed  in  various  de- 
grees by  mixing  the  yellows  with  Vermilion  or  the  Crimsons  ; 
and  also  in  the  already  prepared  Orange  Chrome.  Cadmium, 
with  Carmine  and  Lake,  produces  gorgeous  tones.  Shadows 
are  found  in  Carmine  or  Lake  added  to  the  local  color  and 
qualified  with  warm  Sepia  ; the  lights  require  a preponderance 
of  White. 

Maroon. — A very  fine  hue  of  this  color  exists  in  Madder 
Brown  alone.  Others  are  formed  of  Sepia  and  Lake,  with  or 
without  the  addition  of  a little  Cobalt  ; and  also  with  Lake  or 
Madder  Brown  and  Burnt  Sienna.  Modify  the  shadows  with 
Vandyke  Brown  and  Sepia. 

The  Browns. — Under  the  head  of  Pigments,  their  Qualities 
and  Adaptations,  much  has  been  said  concerning  the  various 
browns.  It  is  not,  however,  a generally  desirable  color  for 
dress  in  pictures,  and  seldom  used,  except  to  give  variety,  or 
where  its  use  may  be  necessary  on  account  of  the  number  of 
figures  in  the  picture.  The  browns  as  already  prepared,  either 
alone  or  by  intermixture,  will  suffice  ; and  should  be  selected 
according  to  the  photographic  base  on  which  they  are  to  be 
laid.  “ Snuff-colored  brown,  used  for  very  old-fashioned 
coats,  may  be  found  in  Burnt  Umber  or  Venetian  Red  and 
Lampblack.  Work  the  shadows  with  the  deeper  kinds,  lowered 
if  necessary  with  Neutral  Tint  or  Lampblack.  For  high  lights 
add  White. 

Black.  — This  may  almost  be  considered  the  universal  color 


COMPOUND  COLORS  FOR  DRAPERIES. 


95 


for  male  apparel  and  is  in  constant  demand  by  the  photograph 
painter.  The  very  best  transparent  black  for  cloth,  silk,  and 
other  black  fabrics  (except  velvet)  is  the  compound  of  Indigo, 
Lake  and  Sepia  ; which,  if  properly  mixed  and  the  right  tone 
(a  deep  violet)  obtained,  will  produce  as  fine  a color  as  can  be 
desired.  Instead  of  Sepia  the  use  of  Gamboge  has  been  ad- 
vised, but  the  working  qualities  of  the  former  are  so  very  supe- 
rior to  those  of  the  latter,  the  first-named  is  most  generally  used. 

The  preparation  of  this  valuable  compound  is  a matter  of  no 
little  consequence,  and  of  some  difficulty  in  obtaining  just 
the  depth  and  tone  wanted.  To  succeed  well,  the  student  will 
find  that  it  must  be  done  systematically^  and  that  if  the  three 
are  mixed  together  hodge-podge  he  will  be  compelled  to  add 
now  a little  of  one,  and  then  another,  to  obtain  the  desired 
tone — and  dirtiness  will  be  the  sure  result.  Instead  of  that, 
choose  one  of  the  following  methods  as  suits  best,  and  proceed 
understandingly  : (i.)  With  Indigo  and  Lake  form  a deep 

purple,  then  add  Sepia  until  a satisfactory  black  is  produced. 
(2.)  With  Indigo  and  Sepia  make  a deep  green,  and  neutral- 
ize this  by  adding  Lake.  (3. ) With  Lake  and  Sepia  make  a 
strong  maroon  ; neutralize  this  by  adding  Indigo. 

Inasmuch  as  the  compound  is  based  principally  on  the  Indi- 
go, perhaps  the  third  method  may  be  less  desirable  than  the 
other  two.  The  chief  difficulty  will  be  found  in  deciding  just 
when  to  stop  adding  the  color  which  neutralizes  the  others  into 
blackness  ; and  to  this  end  the  mixture  should  be  constantly 
stirred  with  a brush,  so  that  its  depth  and  tone  are  understood 
while  the  third  color  is  being  added. 

The  shadows  are  to  be  worked  with  local  color,  used  strongly^ 
and  deepened  with  Indigo,  if  necessary.  The  high  lights  must 
be  put  on  with  a body-color  of  pure  gray — Lampblack  and 
Chinese  White — used  sparingly. 

Lampblack  cannot  be  used  much  in  draperies,  for  the  sim- 
ple reason  that  it  is  opaque  and  will  necessarily  obliterate  the 
shadows  of  the  photograph,  whereby  many  of  the  lines  and  folds 


96 


HOW  TO  PAINT  PHOTOGRAPHS. 


of  the  drapery  would  be  lost.  It  may  be  used,  however,  for  the 
very  deepest  shadows  in  connection  with  the  Compound  Black, 
and  also  for  the  local  color  of  black  velvets — in  which  case  all 
the  lights  are  to  be  worked  on  afterwards  with  the  gray  afore- 
said. 

India  Ink,  as  a black  for  drapery,  can  be  used  only  where  a 
dullness  of  the  fabric  renders  it  appropriate,  as  in  the  case  of  vel- 
vets. It  can  be  toned  cold  or  warm  as  circumstances  require, 
and  being  transparent,  is  perhaps  more  desirable  than  Lamp- 
black. Nothing  can  render  it  brilliant  or  powerful,  however, 
like  the  Compound  black,  and  its  greatest  use  will  always  be 
confined  to  working  the  flesh. 


Gold^  Jewelry^  IPrecious  Stones^  etc. 

The  gold  ornaments  almost  inseparable  from  photographs  of 
women,  gentlemen's  watch  chains,  and  the  buttons  and  tinsel 
upon  military  uniforms,  should  not  be  painted  too  bright,  for 
gold  is  of  a rather  quiet  and  unobtrusive  color.  When  the 
lights  upon  the  jewelry  offer  for  the  most  part  a clean  surface, 
Roman  Ochre  furnishes  the  best  wash,  except  for  Etruscan  gold, 
which  requires  more  intense  color  and  demands  Indian  Yellow 
as  its  local.  In  both  cases  the  shadows  can  be  put  in  with 
Burnt  Umber,  and  Burnt  Sienna  for  the  stronger  touches.  The 
high  lights  require  Indian  Yellow  and  Chinese  White,  on  ac- 
count of  their  unmistakable  permanency  and  brilliant  effect, — 
and  this  may  be  further  increased  by  very  light  after-touches  of 
pure  white. 

Jewelr)^  is  not  unfrequently  taken  so  dark,  however,  that  it 
becomes  necessary  to  give  it  a preparatory  wash  of  Indian  Yel- 
low, else  the  Roman  Ochre  alone  will  appear  too  dull. 

To  delineate  the  ornamental  work  of  gold  jewelry  when  the 
exact  drawing  is  obscure,  there  is  no  more  effective  manipula- 
tion than  dots,  the  high  lights  on  which  give  the  appearance  of 
raised  points,  chased  surfaces,  etc.  ; but  they  should  be  aptly 
located  on  the  edges  and  wherever  it  might  be  supposed  the  sur- 
face would  be  raised,  or  points  occur.  This  is  specially  appli- 
cable when  the  ornament  is  small  or  indistinct — these  high- 
light dots  being  sufficient  to  impress  the  imagination  and  create 
a form  though  none  really  exists. 

5 


98 


HOW  TO  PAINT  PHOTOGRAPHS. 


Precious  Stones. — For  the  various  colors  of  the  precious 
stones  the  student  is  advised  to  examine  the  originals  and  copy 
his  local  color  from  the  stone  itself,  as  instructions  here  would 
be  for  the  most  part  insufficient.  The  photograph  will  be 
found  to  give  dark  bases  for  most  of  these  stones,  and  the  use 
of  body-color  becomes  necessary.  The  pale  red  Coral  will  also 
require  a preparatory  working  with  Scarlet  Vermilion,  whilst  the 
deep  red  must  be  done  with  Vermilion  bodily.  Garnets  will 
photograph  like  jet,  and  then  again  be  almost  white. 

The  beauty  of  the  stone  nearly  always  centering  in  its  brilliant 
light,  the  student  will  see  that  his  important  task  is  comprised 
in  designating  the  exact  tint  of  these  lights,  which  are  not  always 
found  by  simply  adding  Chinese  White  to  the  local  color.  In 
general,  however,  this  is  practicable  ; and  the  light  should  be 
increased  by  an  additional  minute  touch  of  pure  white.  Gum 
Arabic  should  be  applied  freely,  and  no  effort  spared  to  pro- 
duce the  most  intense  effect ! 

In  cases  where  the  jewelry  is  extensive  and  elaborate  and 
constitutes  a striking  point  in  the  photograph,  the  painting 
should  be  done  from  the  thing  itself^  instead  of  depending  on 
notes,  or  from  memory.  If  much  of  it  is  worn  upon  the  neck 
and  bust,  as  a necklace,  watch-chain  and  brooch,  considerable 
of  their  exact  drawing  is  lost  by  the  motion  of  breathing  while 
sitting  for  the  negative.  Nor  is  it  easy,  without  having  exam- 
ined the  jewelry,  to  decide  positively  which  of  the  high  lights 
belong  to  the  gold  and  which  to  the  stones. 

Bronze. — If  anything  like  a bronze  vase  or  table  ornament 
occurs  in  the  photograph,  it  can  be  done  with  a mixture  of 
Burnt  Sienna  and  Prussian  Blue,  which  upon  the  dark  basis 
will  answer  very  well.  Put  on  the  high  lights  with  a yellow 
pencil. 


General  MemarUs. 

Although  the  subject  of  accessories  might  with  propriety  be 
included  undei  the  general  head  of  Background  Painting,  it  is 
a matter  of  sufficient  importance  to  merit  a special  chapter. 

By  the  term  accessories  is  meant  the  various  auxiliaries  intro- 
duced in  the  picture  to  assist  the  position,  explain  the  idea,  re- 
lieve the  figure,  etc. — such  as  curtains,  tables,  chairs,  footstools, 
libraries,  flower-vases,  and  whatever  may  be  natural  to,  or  sug- 
gested by,  the  subject  in  hand. 

To  elaborate  these  accessories  overmuch  is  a very  common 
error  with  beginners,  who  lose  sight  of  the  fact  that  it  detracts 
from  the  importance  of  the  figure.  On  the  contrary,  by  treating 
accessories  with  breadth  and  freedom  and  massing  them  ju- 
diciously, we  obtain  a result  at  once  advantageous  to  the  figure 
and  easily  practicable  as  to  finish.  When  such  an  effect  is  ob- 
tained, there  is  no  difficulty  in  fixing  upon  the  necessary  degree 
of  elaboration,  as  it  is  then  easily  perceived  how  extreme  detail 
would  be  injurious.  [The  foregoing  remarks  apply  also  to 
Landscape  painting  : there  should  be  no  precise  definition  of 
leaves  in  the  near  foliage ; no  minute  laying  out  of  branches  : 
but  rather  truthfulness  of form,  and  completeness  in  massing  the 
foliage.  ] 

In  simple  bust  pictures  the  introduction  of  an  accessory  is, 
to  say  the  least,  injudicious.  Nothing  will  be  more  suitable 
for  such  pictures  than  a plain  background ; but  in  larger  pic- 
tures some  kind  of  accessory  frequently  becomes  indispensable. 


lOO 


HOW  TO  PAINT  PHOTOGRAPHS. 


For  instance,  where  the  arms  are  introduced,  some  object,  as  a 
chair  or  table,  or  both,  may  be  necessary  to  account  for  the  po- 
sition ; but  it  should  be  constantly  remembered  that  unless  the 
accessory  does  assist  the  picture  or  harmonize  with  the  age,  po- 
sition, or  character  of  the  person  represented,  it  must  he  omitted. 

It  is  not  an  uncommon  thing  to  see  pictures  so  overloaded 
with  gaudy  bed-furniture  curtains;  walls  entirely  covered  with 
lines  and  panels ; vases  filled  with  artificial  flowers ; columns 
and  plaster  of  Paris  statues  ; windows,  arches,  old-fashioned 
furniture,  etc.  ; while  the  colors  of  these  may  be  so  glaring,  and 
the  details  of  form  so  precise,  that  it  is  well-nigh  impossible  to 
determine  the  actual  intention  of  the  photographer  or  the  col- 
orist— whether  it  be  to  display  the  figure  or  the  accessories  ! — 
and  of  course  the  portrait  is  rendered  wholly  a matter  of  second- 
ary importance. 

The  accessory  most  usual  in  common  practice  besides  the 
chair  or  table  which  nearly  all  portrait-photographs  contain,  is 
the  introduction  of  a curtain  ; and  it  must  be  conceded  that 
this  can  be  made  of  very  great  use  in  assisting  the  general  effect. 
In  undertaking  to  put  in  a curtain,  the  first  important  thing  is 
to  be  able  to  draw  an  outline  and  obtain  folds  which  will  really 
imitate  the  thing  itself,  so  as  to  produce  a graceful  flow  and 
avoid  stiffness.  After  that,  the  addition  of  cord  and  tassels,  if 
desired,  will  claim  a like  degree  of  ability  and  judgment. 

As  already  mentioned  in  the  chapter  on  painting  drapery,  the 
general  line  of  the  folds  and  masses  should  indicate  the  nature 
of  the  fabric ; whether  it  be  intended  for  velvet,  brocade,  silk, 
etc.  Brocade  (or  brocatelle)  will  be  more  easily  distinguished 
and  represented  by  the  lines  and  figures  that  should  be  wo7'ked 
upon  it — another  point  to  study.  White  lace  curtains  may  some- 
times be  introduced  with  excellent  effect,  but  must  nesoer  be 
painted  as  though  it  was  essential  to  define  their  every  interstice  ! 
It  will  quite  suffice  to  give  a certain  amount  of  detail  along  the 
edges  and  on  the  higher  lights,  but  it  should  be  left  to  the  im- 
agination to  supply  all  the  rest. 


PAINTING  OF  CURTAINS. 


lOI 


Tainting  of  Curtains. 

It  being  quite  probable  that  the  student  will  be  employed 
more  on  curtains  than  on  any  other  of  the  various  accessories,  a 
few  practical  methods  for  painting  them  are  herewith  given  : 

Red  Curtain.  — Mark  out  the  folds  and  shadows  with  Sepia  ; 
then  lay  on  a wash  of  Carmine  or  Crimson  Lake ; and  over 
that,  when  dry,  others  of  the  same,  until  a proper  strength  is 
reached.  Deepen  the  shadows  with  Sepia  and  Lake,  or  Madder 
Brown.  If  it  becomes  necessary  to  break  down  any  part  that  ap- 
pears too  glaring,  lower  the  red  tint  by  hatching  upon  it  with 
broad  touches  of  Madder  Brown — or  still  more,  with  Sepia  alone 
or  with  Lake.  For  high  lights  mix  Chinese  White  with  the 
local  color,  or  touch  them  on  with  a red  pencil  or  hard  pastel 
of  the  proper  tint,  which  is  the  best  way. 

Amber -colored  Curtain. — Wash  with  Indian  Yellow  modified 
with  Burnt  Sienna  ; shadow  with  Burnt  Sienna  and  afterwards 
with  Vandyke  Brown  or  Sepia.  High  lights,  use  Indian  Yellow 
and  Chinese  White,  or  the  yellow  crayon.  If  it  is  desired  to 
give  it  a retiring  effect,  paint  a black  pattern  upon  the  curtain, 
or  cross  it  with  fine  diagonal  lines. 

Green  Curtain. — Under  the  head  of  Drapery  many  combina- 
tions are  given  for  green.  The  already  prepared  Prussian  Green 
is  a very  good  local  color  for  a brilliant,  strong  and  cool  tone. 
Shadow  in  the  same  manner  as  for  green  drapery,  using  Emerald 
Green  for  the  high  lights. 

For  other  hues  appropriate  to  curtains,  see  Compound  Colors 
for  Draperies.  In  a truly  artistic  sense  the  Secondaiy  colors  are 
preferable  and  sufficiently  decided  for  curtains.  The  pure  and 
unalloyed  tones  of  yellow,  blue,  and  scarlet-red  are  rather  too 
attractive  for  the  subsidiary  position  of  a curtain,  and  would  be 
too  apt  to  overwhelm  the  figure.  The  more  grateful  hues  of 
purple,  green,  and  brown  will  be  found  much  more  proper  and 
agreeable. 


102 


HOW  TO  PAINT  PHOTOGRAPHS. 


It  is  to  be  regretted,  however,  that  the  professional  photo- 
graphic painter  is  frequently  compelled  to  do  what  is  not  alto- 
gether in  strict  accord  with  true  art ; though  the  conscientious 
artist  will  always  aim  to  direct  his  judgment  as  far  as  possible  in 
harmony  with  a correct  standard.  In  the  end  he  will  be  likely 
to  please  the  majority  of  his  patrons  and  achieve  a good  reputa- 
tion. 

Furniture. 

The  wood-work  of  furniture  may  be  represented  as  Mahog- 
any, Rosewood,  Walnut,  and  Oak,  according  to  the  local  color 
used.  Venetian  Red  or  Light  Red  will  produce  the  Mahogany 
color ; Crimson  Lake  and  Sepia  will  give  the  various  tints  of 
Rosewood ; Burnt  Umber,  lowered  with  Sepia,  will  furnish  the 
Walnut  color ; and  for  the  Oak  use  Yellow  or  Roman  Ochre 
as  the  case  requires.  Warm  Sepia  and  Lake,  Burnt  Sienna  and 
Carmine,  with  an  after- wash  of  Sepia,  also  form  good  furniture 
colors.  Madder  Brown  may  sometimes  be  used  when  the  basis 
is  dark. 

The  high  lights  on  furniture  are  grayish-blue  (body-color) 
and  should  be  touched  on  with  distinctness.  A few  delicate 
after-touches  of  white  increases  the  brilliancy  of  the  lights,  which 
is  very  essential  in  correctly  representing  the  highly  polished 
wood.  The  free  use  of  Gum  Arabic  is  also  as  necessary  to  imi- 
tate furniture  in  a picture  as  varnish  is  to  complete  the  bright 
eifect  of  the  thing  itself. 

The  colors  of  the  velvet,  brocatelle,  or  cloth  furniture-cushion 
should  be  discreetly  chosen  ; for  the  reason  that  in  many  pic- 
tures it  is  the  only  place  for  the  introduction  of  a positive  hue 
with  which  to  harmonize  the  flesh  or  drapery. 

Carpets  and  Table  Covers, 

These  should  for  the  most  part  be  kept  in  great  subjection 
to  the  figure.  If  it  is  necessary  to  work  somewhat  in  detail  the 
various  parts  of  the  pattern-figure,  the  colors  should  not  be 


CARPETS  AND  TABLE  COVERS.  IO3 

applied  with  too  great  nicety  and  precision  ; and  no  attempt 
should  be  made  to  work  out  the  exact  pattern — else  the  result 
will  look  like  a piece  of  mosaic  work,  and  the  effect  be  hard 
and  disagreeable. 

While  the  student  is  recommended,  as  a general  rule,  to  treat 
the  pattern  of  carpets  indifferently  when  they  occur  in  shadow 
and  along  the  edges  of  his  picture,  he  must  also  be  able  to  con- 
centrate his  light  in  a particular  spot  by  working  out  with  more 
distinctness,  and  with  brilliant  colors,  the  pattern  as  defined  by 
the  photograph.  With  this  idea  in  view,  let  him  work  the  car- 
pet in  full  light  only  at  the  feet  of  the  figure,  the  borders  being 
kept  in  shadow — especially  that  which  lies  along  the  bottom  or 
front  of  the  picture.  If  this  is  in  shadow,  and  the  light  kept  up 
at  the  feet  of  the  figure,  it  necessarily  follows  that  the  figure  will 
be  thrown  back  and  so  placed  as  to  attract  the  eye  instantly, 
involuntarily',  and  pleasurably. 

An  exception  to  the  foregoing  occurs  when  it  is  necessary  to 
make  a tessellated  floor,  which,  so  far  as  light  and  shadow  are 
concerned,  can  be  regulated  in  the  manner  spoken  of;  but  the 
geometrical  drawing,  according  to  the  rules  of  perspective,  must 
be  rigidly  maintained  throughout.  The  tessellated  floor  is  sel- 
dom introduced  into  photographic  paintings  now-a-days,  and 
scarcely  demands  particularization  here.  It  is  mainly  suitable 
for  halls,  terraces,  porticos,  etc. 

The  handling  of  the  brush  in  working  on  carpets  should  as 
much  as  possible  be  performed  with  short  horizontal  lines  and 
touches.  If  the  lines  which  indicate  the  direction  of  the  carpet- 
pattern  as  a whole  incline  to  the  perpendicular,  the  carpet  (or 
floor)  will  too  often  seem  to  run  up  toward  the  back  part  of  the 
picture  ; and  for  this  reason  it  is  better  and  easier — when  the 
carpet  is  not  specifically  defined  in  the  photograph — to  lay  it  out 
diagonally  with  the  base-line  of  the  picture.  This  will  not  only 
aid  in  covering  bad  drawing,  if  there  be  any,  but  it  gives  variety 
of  line,  as  opposed  to  the  perpendicular  figure,  the  panels,  and 
lines  drawn  upon  the  wall. 


104 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  same  general  directions  given  for  the  treatment  of  cur- 
tains and  carpets  are  equally  applicable  to  Table-Covers.  The 
student  must  guard  against  over-finish  and  flatness.  Only  that 
part  of  the  cover  next  to  the  sitter  should  receive  attention,  al- 
lowing the  other  side  to  remain  in  shadow.  If  the  cloth  be 
figured,  avoid  such  color  and  detail  as  will  seem  to  lose  the  dis- 
tinctness of  the  hand  that  may  rest  upon  it.  The  cloth  should 
hang  in  easy  folds  at  the  side,  and  the  tone  of  color  be  subdued 
as  it  approaches  the  floor.  Being  of  minor  importance,  it  should 
comprise  very  little  variety  of  color,  with  few  high  lights. 


General  ternaries. 

A CONSIDERATION  of  most  vital  importance  in  the  manage- 
ment of  a picture  is  the  background,  which  may  be  understood 
as'  comprising  everything  seen  beyond  the  plane  on  which  the 
principal  figure  or  figures  are  arranged. 

The  chief  technical  resources  of  background  painting  are  to 
be  found  in  Landscape,  Architecture,  and  Drapery. 

It  should,  in  general,  be  of  a negative  character  and  retiring, 
in  order  to  give  prominence  and  force  to  the  subject  painted. 
It  affords  the  student  an  opportunity  for  showing  his  originality 
in  the  introduction  of  striking  and  ingenious  devices  which  shall 
add  grace  and  interest  to  the  figure,— giving  vigor  and  point 
to  some  parts,  softness  and  repose  to  others,  and  union,  har- 
mony, and  effect  to  the  whole.  Whatever  is  introduced,  there- 
fore, should  be  in  perfect  agreement  with  the  character  of  the  sub- 
ject in  hand.  ' 

It  will  be  desirable  that  the  photographic  basis — the  print — • 
should  possess  a tone  midway  between  the  highest  lights  and  the 
deepest  shadows,  in  order  to  give  due  relief  to  all  parts  and 
produce  the  best  results  in  coloring.  But  this  is  not  always  the 
case,  and  except  when  the  photograph  has  a white  ground,  the 
student  is  unfortunate  (as  professional  painters  usually  are)  in 
not  being  able  to  select  his  tint  of  background,  and  must  yield 
whatever  desire  he  may  have  to  the  necessities  of  the  case. 

In  the  treatment  of  backgrounds  two  essential  points  are  to 
be  considered — tone  and  color.  The  color  is  to  be  chosen  in 


io6 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  same  manner  as  those  for  draperies — with  respect  to  the 
head  and  figure.  The  tone  must  be  always  different  from  the 
mass  it  supports  and  of  which  it  is  the  ground,  so  that  the  ob- 
jects coming  Upon  it  may  not  seem  transparent,  but  solid  and 
raised — “ relieved. The  color  of  the  hair  usually  determines 
the  tone  of  the  ground  in  portraits  or  vignettes,  but  in  figure 
pictures  the  hue  of  the  drapery  should  be  regarded,  so  long  as 
the  color  selected  does  no  violence  to  the  face. 

When  the  ground  is  neither  a curtain  nor  a landscape,  but  is 
plain  and  intended  to  represent  a wall,  it  should  consist  of  bro- 
ken tints  and  not  of  one  uniform  color,  while  it  should  also  be 
lighter  in  some  parts  than  others,  so  that  the  figure  may  not  ap- 
pear ‘‘inlaid.” 

This  is  usually  effected  by  introducing  pilasters,  panels  vari- 
ously hued,  etc. 

After  the  head  and  drapery  are  painted,  it  is  the  background 
that  really  completes  the  picture  ; and  its  use  is  not  merely  to 
throw  out  the  principal  object,  but  (as  before  mentioned)  to 
control  and  harmonize  the  whole. 

The  student  must  remember  the  simple  principles  of  chiaro- 
oscuro  ; always  to  relieve  his  figure  and  accessories  by  placing 
light  against  dark  and  dark  against  light.  Hence  if  the  head 
or  figure  to  be  painted  has  one  side  in  shadow,  his  back- 
ground must  be  kept  lighter  against  that  side,  and  made  darker 
against  the  other  side  which  has  the  higher  light  upon  it. 

There  are  two  principal  methods  of  ‘ ‘ relieving  ” a figure  : 
first,  when  the  light  is  on  the  subject ; and  second,  when  the 
subject  appears  dark  on  a light  ground.  For  portraits,  the 
former  is  best  adapted  ; and  the  tint  of  the  background — the 
tone  of  which  is  always  to  be  kept  low  in  order  to  throw  out  the 
lights  upon  the  head — may  be  varied  through  all  possible  grada- 
tions, from  the  shadow  thrown  upon  a light-tinted  wall  to  the 
depth  and  obscurity  which  surrounds  a figure  placed  just  within 
an  open  door.  Light  backgrounds  involve  less  labor  but  they 
have  not  the  force  of  dark  ones,  for  it  is  obvious  that  light  will 


REPETITION  OF  LIGHT  AND  COLOR.  IO7 

always  appear  brightest  when  it  is  surrounded  with  shadows  or 
darkness.  Certain  parts  of  the  figure  may  sometimes  almost  be 
lost  in  the  ground  whilst  other  parts  should  come  sharply  out 
of  it. 

These  facts  will  very  naturally  suggest  the  appropriateness  of 
the  method  first-named  for  men,  and  of  the  second  for  women 
and  children.  In  the  former,  our  ambition  is  to  depict  charac- 
ter and  strength,  which  w^ould  demand  the  force  and  solidity  of 
a dark  ground  ; whilst  in  the  latter  our  aim  is  to  portray  soft- 
ness, repose,  and  beauty,  which  w'ould  require  a light  ground, 
or  the  more  suggestive  and  harmonious  ‘ ‘ clouding of  a vig- 
nette. 

In  solid  backgrounds  it  is  a good  plan  to  keep  the  warmest 
colors  near  the  centre  of  the  picture  and  the  colder  colors  out- 
side. 

^Repetition  of  Light  and  Color, 

An  open  window  or  door,  affording  a glimpse  of  landscape 
outside,  may  sometimes  be  introduced  to  great  advantage,  for 
the  purpose  of  extending  the  light  which  would  otherwise  be 
confined  to  the  figure,  as  well  also  for  the  repetition  of  color. 
For  instance  : if  the  interior  color  be  dark-toned,  the  introduc- 
tion of  a few  warm  tints  into  the  sky  (as  seen  through  the  win- 
dow or  door),  serves  to  repeat  the  color  of  the  flesh  ; while 
other  tints  of  ground  and  foliage  may  repeat  the  color  of  the 
draperies — and  thus,  by  contrast  or  complementary  effect,  the 
value  of  the  whole  is  enhanced. 

Concerning  this  repetition  of  color  it  may  be  observed,  that 
it  is  not  intended  to  repeat  the  color  with  exactly  the  same 
tint  in  any  case  whatever,  but  by  one  of  its  kind  in  general. 
The  object  of  this  being  to  raise  or  to  lower  the  tone  of  the 
colors  upon  the  figure,  the  reds,  the  yellows,  and  blues  are  to 
be  regarded  as  general  colors,  and  not  as  individual  tints  of  any 
one  color. 


io8 


HOW  TO  PAINT  PHOTOGRAPHS. 


JPractical  Di/rections, 

With  the  foregoing  chapter  upon  the  nature  and  characteris- 
tics of  backgrounds  in  general,  special  directions  for  painting 
the  same  may  now  be  given. 

In  general  practice  it  is  advisable  to  use  negative  grays,  blues, 
and  purples,  especially  for  pictures  of  fair  persons  and  children. 
Dark  complexions  should  have  dark  backgrounds  inclining  to 
red  or  warm  brown.  Olive  greens  give  additional  value  by 
throwing  up  the  carnations  of  the  face.  Never  use  a cold,  blue 
green,  although  the  use  of  this  color  may  otherwise  vary  from  a 
yellow-gxQQn  to  a drab. 

The  gray,  blue,  and  purple  tints  above-mentioned  can  be 
used  to  most  advantage  in  vignette  pictures  when  made  on  clean 
white  grounds.  In  these  instances,  the  background  should  be 
painted  to  represent  clouds — atmosphere — (giving  to  the  head 
an  appearance  as  if  seen  against  the  sky),  and  can  be  manipu- 
lated as  follows  : 

Having  selected  and  prepared  your  cloud-color  wash  or 
washes  (as  the  case  may  be),  proceed  with  a light  tint  of  the 
same  over  all  the  space  intended,  remembering  to  lay  out  the 
edges  with  convolutions  and  broken  forms,  as  seen  in  nature  ; 
then  as  quickly  as  possible  go  around  the  edges  of  this  with  a 
brush  just  moist,  which  will  absorb  part  of  the  color,  and  there- 
by soften  the  edges  of  the  cloud-mass  into  the  clean  paper.  In 
doing  this,  break  up  the  upper  edges  into  delicate,  fleecy  trac- 
ings, but  occasionally  leave  some  of  the  lower  edges  heavy  in 
color,  to  represent  the  shaded  side  of  the  cloud.  In  laying  the 
wash,  occasional  specks  and  lines  should  be  reserved  white,  like 
breaks  and  openings — in  order  to  save  rubbing  out  afterwards 
— which  will  produce  a veiy  fine  effect  in  the  end. 

When  this  first  wash  is  absorbed,  lay  on  another  and  darker 
tint,  keeping  it  a little  distance  within  the  outline  of  the  first, 
but  not  always  at  a regular  distance.  Neither  should  there  be 
any  uniformity  of  convolution  or  shape  between  the  outer  edges 


PRACTICAL  DIRECTIONS.  IO9 

of  the  first  and  second  wash,  as  nothing  of  the  kind  exists  in 
the  natural  cloud-forms  which  are  now  being  imitated.  Add  a 
third  and  still  darker  wash  at  the  proper  time,  if  necessary,  in- 
side of  the  edge  of  the  second.  Two  washes  are  usually  suffi- 
cient, although  the  number  and  the  strength  of  color  must  al- 
ways be  regulated  by  the  work  in  hand. 

Perhaps  one,  or,  at  most,  two  washes  will  be  found  quite 
strong  enough  against  the  dark  side  of  any  face  if  three  be  used 
to  relieve  the  light  side  ; remember  they  should  never  be  alike 
in  degree  of  tone. 

If  the  clouding  is  to  be  composed  of  more  than  one  tint,  all 
must  be  prepared  and  everything  ready  before  commencing  the 
wash  ; then  the  different  tints  can  be  placed  as  the  color  flows 
and  is  absorbed.  If  this  is  dextrously  accomplished  and  the 
washes  kept  pure,  a great  point  is  gained  ; and— -barring  the 
flatness,  and  want  of  “ atmosphere  — a beautiful  effect  pro- 
duced. 

For  a shadow-cloud  (or  rather  a shadow  of  the  head  upon  the 
cloud)  designed  to  relieve  the  dark  side  of  the  face — ^just  as  it 
would  be  proper  to  execute  a shadow  upon  a wall  background 
— it  may  be  necessary  to  increase  the  strength  of  the  color  in 
hand,  or  use  an  additional  darker  one. 

Although  the  foregoing  method  of  producing  cloud  back- 
grounds by  washing  is  expeditious,  and  may  suffice  for  pictures 
that  are  not  intended  to  be  wrought  finely — and  may  also  do 
for  the  beginner  in  photograph  painting — it  is  nevertheless  in- 
complete ; and  lacks  the  artistic  finish  that  is  essential  to  an  ex- 
cellent picture, — especially  a vignette-head  on  a white  ground. 

Therefore  if  the  work  is  intended  to  be  elaborate  and  com- 
plete, the  best  aerial  effect  will  be  obtained  by  hatching  over  the 
entire  ‘ ^ cloud  surface  ’’  which  has  been  already  washed.  When 
the  clouding  is  to  be  finished  in  this  manner,  the  selection  of 
the  wash-tints  must  be  done  with  reference  to  the  hatching-col- 
or, so  as  to  avoid  muddiness  in  the  end.  This  process  will  re- 
quire a very  great  amount  of  time,  patience,  and  labor ; but  if 


no  HOW  TO  PAINT  PHOTOGRAPHS. 

the  proper  handling  has  been  used  the  superior  result  will  am- 
ply repay. 

Cloudings  for  children’s  heads  should  be  composed  of  what- 
ever tints  harmonize  best  with  the  face  ; a subdued  green  can 
sometimes  be  introduced  freely  with  good  effect.  For  women 
the  tints  should  be  more  sedate  but  still  fresh  and  rather  varied  ; 
and  for  men  the  cooler  and  stronger  grays,  drabs,  and  greenish- 
browns  will  be  appropriate. 

Reference  has  already  been  made  to  the  ‘ ‘ shadow-cloud  : ” 
the  darker  side  of  the  face  is  always  greatly  relieved  and  a good 
effect  produced  by  projecting  a moderate  shadow  upon  the 
clouding  at  a little  distance  from  the  head.  It  should  be  worked 
somewhat  along  the  lower  edge  of  the  clouding ; and,  gradually 
rising,  seem  to  lose  itself  in  the  general  tone  as  it  rises.  If  the 
shaded  side  of  the  face  be  very  dark,  it  can  be  made  to  lessen 
one-half  its  blackness  by  putting  in  this  effect  of  shadow-cloud 
sufficiently  strong ; but  care  must  be  had  so  that,  while  a due 
strength  of  color  is  used,  the  idea  of  atmosphere  be  not  destroy- 
ed ; lest  that  which  is  intended  to  be  aerial  may  prove  to  be 
‘ ^ of  the  earth,  earthy.  ” 

Indeed,  all  the  hatching  and  stippling  used  to  obtain  a cloud- 
effect  must  be  done  with  comparatively  faint  but  decided  lines 
and  touches.  Remember  that  the  former  should  never  inter- 
sect each  other  at  right  angles,  or  run  too  much  in  parallel  lines. 
Crossed  hatching-lines,  drawn  somewhat  less  than  forty-five  de- 
grees from  the  right  or  left  of  a perpendicular,  produce  the 
aerial  effect,  if  not  too  distinctly  drawn.  They  should  be  light 
or  heavy  according  to  the  depth  of  ‘the  wash  upon  which  they 
are  worked.  The  edges  of  the  clouds  must  always  be  lighter 
and  more  delicately  handled  than  the  central  parts. 


Opaque  JBachg rounds. 

Although  it  is  the  practice  of  some  artists  to  meet  the  diffi- 
culties arising  from  very  dark  or  otherwise  objectionable  back- 


BACKGROUNDS  IN  SOFT  PASTEL. 


1 1 1 


grounds  in  the  photograph  by  painting  them  entirely  in  body 
color’’  (mixing  all  the  colors  used  with  Chinese  White),  the 
practice  is  at  best  considered  inartistic  and  open  to  many  ob- 
jections. It  is  not  meant  here  that  body-color  is  never  to  be  in- 
troduced ; but  the  exclusive  and  entire  use  of  it  is  not  advised, 
for  these  reasons,  viz., — 

Water  color  painting  is,  for  the  most  part,  a method  of  using 
transparent  pigments  ; consequently  any  attempt  to  engraft  the 
capabilities  of  other  styles  totally  different  in  this  important 
quality,  cannot  end  otherwise  than  in  a loss  of  the  chief  beauty 
of  water  colors.  This  is  the  theory  of  its  application  to  photo- 
graphic painting. 

The  handling  of  the  hody-color  method  must  necessarily  be 
akin  to  the  practice  of  oil  rather  than  water ; and  though  it 
gives  more  power  than  the  latter  style,  it  causes  a total  sacrifice 
of  all  the  beauty  of  transparent  color.  To  complete  a back- 
ground in  this  manner  is  sure  to  destroy  the  general  softness  of 
the  picture,  and  is  equally  certain  to  make  the  head  or  figure 
look  ‘Tnlaid,”  or  as  if  cut  out  and  pasted  against  the  ground  ! 

If  the  background  is  to  be  made  an  important  feature  of  the 
picture,  it  is  infinitely  better  to  have  the  photograph  taken 
with  a ivhite  ground  at  first ; or  else  have  the  figure  cut  out  and 
printed  without  the  original  background.  Then  the  artist  has 
a basis  upon  which  he  can  exercise  his  choice,  and  a field  is 
opened  to  him  in  which  to  display  his  ability  in  the  true  style  of 
water  color. 

But  when  the  ground  is  to  be  plain  and  of  one  shade,  veiy 
beautiful  effects  are  afforded  with  soft  pastel,  to  which  attention 
is  now  directed. 

Backgrounds  in  Soft  Bastel, 

The  objections  generally  urged  to  opaque  grounds  must  be 
yielded  in  this  species  of  work  ; for,  while  there  is  no  better  way 
of  covering  over  a scratched  or  speckled  surface  in  the  photo- 
graph, there  is  also  no  other  means  of  producing  a new  one 


2 


HOW  TO  PAINT  PHOTOGRAPHS. 


which  can  rival  it  in  evenness  of  tint  or  shade,  softness,  and  at- 
mosphere. 

Perhaps  the  most  valuable  characteristic  of  pastel  is  its  great 
use  to  the  artist  when  he  has  in  hand  a copy  of  some  old  da- 
guerreotype that  has  a horrid  background  of  streaks,  dust-marks, 
scratches,  stains,  etc.  Whether  the  copy  is  to  be  worked  in 
India-Ink  or  color,  he  will  be  surprised  to  find  how  readily  and 
expeditiously  he  can  get  rid  of  an  abominable  task,  in  which, 
but  for  pastel,  he  would  be  compelled  to  exhaust  his  patience 
by  stipplmg  to  smoothness. 

Gray  Pastel — for  India-Ink  Work. — First  touch  out  all 
the  'prominent  spots,  lines,  etc. , that  appear  white  ; then  by 
washes  of  Lampblack  bring  the  photographic  ground  to  about 
the  tone,  or  if  anything  darker  than  the  shade  of  the  pastel  about 
to  be  used.  For  this  particular  purpose  Lampblack  is  superior 
to  any  other  pigment,  on  account  of  its  ‘ ‘ body,  which  creates 
a ‘ ‘ tooth ''  on  the  surface,  to  catch  and  hold  the  pastel  when 
subsequently  applied. 

In  preparing  the  ground  for  the  pastel  it  should  be  done  as 
evenly  as  possible,  and  as  the  powder  is  not  to  be  rubbed  on 
too  thickly  it  is  plain  that  the  more  equal  in  tint  the  basis  is 
obtained,  the  smoother  in  surface  and  tone  will  be  the  ground 
when  finished. 

No  attempt  must  be  made  to  apply  the  pastel  until  the  washes 
have  become  entirely  dry^  else  the  powder  will  stick  or  ‘ ‘ cake  ’’ 
instantly,  and  the  wash  will  rub  up.  Neither  should  the  fingers 
or  hand  be  allowed  to  touch  the  surface,  as  they  are  likely  to 
impart  just  enough  of  greasiness  to  keep  the  pastel  from  adher- 
ing ; indeed  the  sure  preventive  is  always  to  wash  the  finger  or 
fingers  intended  to  be  used  in  rubbing  the  powder. 

Now  crush  the  pastel  to  a fine  powder  with  the  spatula  or  by 
rubbing  it  on  a piece  of  moderately  smooth  board  (or  cardboard) 
and  mix  the  shades  according  to  whatever  depth  the  work  de- 
mands. Place  the  drawing-board  in  a horizontal  position,  or 


BACKGROUNDS  IN  SOFT  PASTEL. 


II3 


nearly  so,  and  with  the  spatula  gently  sprinkle  a quantity  of  the 
powder  over  the  surface  previously  washed.  Then  begin  to 
spread  it  over  the  part  by  rubbing  it  with  the  finger  over  the 
broad  spaces,  and  with  the  aid  of  a Stump  carr^^  it  into  such 
corners  as  the  finger  cannot  reach.  Spread  what  is  there  as  far 
as  it  will  go  before  adding  more,  and  if  the  ground-wash  is  even 
it  can  be  rubbed  very  thinly. 

Always  put  on  the  lighter  shades  first  and  rub  the  darker  ones 
into  them,  finishing  with  the  deepest.  The  finger  should  be 
worked  with  a circular  motion,  occasionally  reversing  it,  bearing 
very  lightly  on  the  paper,  and  leaving  no  marks  or  any  trace 
whatever  of  how  the  powder  was  applied.  Do  not  press  the 
finger  too  heavily  on  the  powder  when  the  rubbing  is  com- 
menced, or  it  will  likely  not  spread  well  from  that  particular 
spot,  and  smoothness  will  be  impaired. 

Remember  the  general  rule,  to  apply  the  shades  of  the  pastel 
light  against  the  darker  side  of  the  face  or  figure,  and  vice  versa  ; 
and  if  the  shadow  be  laid  out  correctly  on  the  background,  the 
effect  will  be  wonderfully  soft  and  atmospheric.  In  applying 
the  pastel  powder,  if  some  of  it  is  accidentally  rubbed  beyond 
the  limits  of  the  space  to  be  covered,  or  upon  the  figure,  it 
can  be  removed  with  a dry  brush  or  soft  India  Rubber,  used 
very  lightly. 

About  three  tints  of  normal  gray  (white  and  black — as  it  is 
found  in  boxes),  will  be  sufficient  to  compose  a good  back- 
ground for  India-Ink  work,  if  the  Ink  has  been  kept  neutral  in 
tone  ; but  if  not,  it  will  be  necessary,  by  the  use  of  colored  cray- 
on, to  harmonize  the  pastel  ground  with  the  subject.  In  ad- 
dition to  the  black  furnished  in  soft  pastel,  it  may  be  preferable 
to  grind  down  some  hard  black  (Conte)  crayon,  which  is  likely 
to  produce  a cleaner  and  less  sooty  effect. 

To  avoid  the  inlaid  appearance  and  give  nature’s  softness  to 
the  outline  of  the  figure,  go  all  around  the  edges  with  a moisten- 
ed (not  wet)  brush ; this  will  just  break  the  tone  of  the  pastel 
where  it  comes  hard  against  the  figure,  and  give  a more  pleasing 


1 14  HOW  TO  PAINT  PHOTOGRAPHS. 

result.  But  even  this  is  unnecessary  if  caution  is  taken  in  rub- 
bing just  to,  and  not  over,  the  outline  of  the  figure. 

Should  it  become  necessary  to  add  other  washes  to  the  dra- 
pery, curtain,  or  anything  else  after  the.  pastel  has  been  laid,  be 
very  careful  that  the  motion  of  the  brush  shall  keep  the  flow  of 
the  wash  from  the  edges  of  the  part  to  which  it  is  being  applied  ; 
otherwise  if  the  color  strikes  the  pastel,  it  will  spread  instantly 
and  the  work  be  damaged,  if  not  entirely  ruined. 

If  facility  is  once  attained  in  the  manipulation  of  pastel,  the 
student  will  be  not  only  surprised  and  pleased  with  the  beautiful 
finish  which  this  smooth  background  is  able  to  give  to  his  pic- 
ture, but  also  with  the  very  simple  and  easy  process  by  which 
a result  so  excellent  has  been  obtained. 

Pastel  for  Colored  Work. — The  foregoing  directions  ap- 
ply equally  to  the  use  of  Colored  Pastel,  in  manipulating  grounds 
for  painted  pictures  ; except  that,  if  the  finished  ground  is  to  be 
of  a light  tint,  it  will  be  advisable  to  give  the  paper  its  required 
‘‘tooth”  by  adding  a little  “body”  (Chinese  White)  to  a suit- 
ably colored  wash.  If  for  browns  or  stone  color,  the  Lamp- 
black will  answer  as  well. 

In  addition  to  the  grays,  white,  and  black  pastel  above  men- 
tioned, it  will  be  necessary  to  have  red,  blue,  yellow,  green, 
brown,  and  a few  others  ; but  all  should  have  a negative  tone. 
Triough  has  already  been  said  to  fix  the  fact  that  a subdued  hue 
for  the  background  is  always  most  desirable. 

Pictures  with  pastel  backgrounds — whether  plain  or  col- 
ored— should  always  be  set  off  with  a white-edged  mat,  and 
framed  at  once,  to  keep  them  from  being  touched  or  rubbed 
and  the  dust ; unless  they  be  well  covered  with  tissue  or  soft 
Manilla  paper. 

Landscape  JBachgrounds. 

Landscape  painting  is  an  art  in  itself.  It  is  so  distinct  and 
separate  as  a department  of  the  water-color  art  that  no  attempt 


LANDSCAPE  BACKGROUNDS.  1 1 5 

will  be  made  to  treat  of  it  at  length  here,  and  the  student  is 
therefore  advised  to  consult  works  written  especially  on  this 
branch,  or  seek  instruction  from  competent  teachers.  This 
book,  however,  will  doubtless  be  studied  by  many  who  have 
neither  of  those  advantages  by  which  to  obtain  this  particular 
knowledge  ; and  it  may  not  be  amiss  therefore  to  treat  a few 
general  ideas  under  this  head,  though  they  must  necessarily  be 
very  brief 

To  obtain  the  forms  with  which  this  description  of  back- 
ground must  be  composed— if  it  is  desired  to  originate  one  of 
his  own  and  not  to  copy  the  design  of  another — there  is  but 
one  rule  for  the  student’s  guidance  : “ Study  Nature  !”  and  as 
she  is  read,  so  let  her  be  depicted. 

The  general  design  being  settled  and  his  drawing  made,  he 
must  endeavor  to  obtain  a handling  of  the  brush  which  will  in- 
dicate foliage,  and  varying  according  to  the  peculiar  character- 
istics of  the  tree  or  bush  he  would  represent.  It  may  be  said 
that  no  two  persons  ever  painted  a tree  with  precisely  the  same 
feeling  ; the  difference  observable  in  the  representation  of  foliage 
as  painted  by  various  artists  being  considerable,  and  worth 
studying. 

Some  employ  the  color  as  wet  as  possible,  and  merely  blot  in 
the  forms  of  the  trees,  mingling  light  and  shadow  together,  and 
trusting  to  the  lights  intended  to  be  taken  out  by  rubbing  with  a 
moist  handkerchief,  when  the  wash  is  dry. 

Others  use  their  color  in  a state  almost  dry,  and  the  hairs  of 
the  brush,  spreading  abroad  like  a fan,  are  made  use  of  rather 
to  scumble  the  forms  in  than  to  define  them  properly.  The 
distinguished  English  water-colorist  Rowbotham,  advises  that  a 
method  between  these  extremes  is  the  best. 

In  a former  chapter  on  the  properties  and  adaptations  of  col- 
ors, many  are  spoken  of  as  being  the  constituents  of  various 
greens  suitable  for  landscape,  to  which  the  student  can  now  re- 
fer, and  by  practicing  somewhat  he  will  discover  their  adapta- 
tions to  the  different  parts  of  the  background. 


ii6 


HOW  TO  PAINT  PHOTOGRAPHS. 


He  must  not,  however,  lose  sight  of  the  fact  that  his  trees, 
etc.,  are  only  auxiliary  to  the  idea  centered  in  the  figure,  and 
that  his  landscape  effects  must  be  of  secondary  importance. 
If  by  study  and  practice  he  happily  succeeds  in  obtaining  the 
correct  positioit  and  form  of  natural  objects — evincing  in  the 
handling  thereof  that  easy,  broad  and  ‘^sketchy”  manner  so 
peculiar  to  the  water-color  art — it  will  be  found  that  compara- 
tively little  work  is  required  to  furnish  what  will  suggest  to  the 
imagination  a much  more  pleasing  result  than,  with  extraordi- 
nary particularity  and  labor,  could  have  been  produced  to  satisfy 
the  eye. 

These  remarks  are  particularly  applicable  where  it  is  purposed 
to  execute  the  landscape  ground  in  one  tint,  as  for  instance, 
an  India-Ink  picture.  Let  the  figure  be  photographed  against 
a screen  that,  will  produce  an  ordinary  tone  of  light  gray ; then 
with  various  shades  of  Lampblack  washes,  throw  in  the  forms  of 
trees,  shubbery,  rocks,  water,  straggling  vines,  clouds,  etc.  (ac- 
cording to  design)  ; strengthen  these  with  shadow-washes  blot- 
ted in  according  to  the  direction  of  the  light,  deeper  and  various 
as  the  situation  requires.  With  a smaller  brush  and  thicker 
color  trace  the  shadows  on  trunks,  branches,  stalks,  and  add  the 
more  delicate  as  well  as  decided  lines  in  the  foreground — for 
grass,  flowers,  stones  ; remembering,  that  the  merest  spots  of 
color  and  seeming  indifference  of  line  if  aptly  given  will  appear 
to  the  mind's  eye  as  a graceful  abandon  of  nature.  The  lights 
should  be  done  with  pure  gray,  and  certain  salient  points  with 
touches  of  Chinese  White.  If  properly  done,  this  method  will 
be  found  quite  useful  and  popular  ; and  if  the  student  has  pre- 
viously acquired  the  proper  manipulation  and  the  ability  to  re- 
produce nature's  forms,  he  will  find  it  more  of  pleasure  than 
labor. 

Much  of  the  chromo-lithography  of  the  present  day  serves  a 
valuable  purpose  to  the  student  who  aims  to  possess  himself 
with  the  true  ideas  of  landscape  in  water-color,  affording  con- 
venient opportunities  for  studying  the  color  and  effects  of  the 


LANDSCAPE  BACKGROUNDS. 


II7 

great  English  masters ; and  to  a minute  examination  and  imi- 
tation of  these  works — as  well  as  the  writings  of  Barnard,  Penley, 
Rowbotham,  and  others — the  more  ambitious  are  referred. 

Beyond  all  question,  the  ability  to  complete  a good  landscape 
background  will  demand  of  the  beginner  as  it  does  of  the  artist 
study,  earnest  attention  to  nature,  and  care  in  the  arrangement 
of  all  the  parts.  Above  all,  he  should  endeavor  to  attain  a de- 
gree of  ‘ ‘ feeling for  the  subject,  in  order  to  comprehend  and 
imitate  nature ; not  with  a mincing  particularity,  but  with  a 
dignity,  ease  and  breadth  that  will  bring  the  imagination  and 
the  eye  into  complete  harmony. 


tif  |*ainling* 

Introductory. 

Having  given  the  manner  of  painting  the  various  details  it 
may  now  be  considered  advisable,  if  not  essential,  to  recom- 
mend to  beginners  a convenient  order  to  be  pursued  in  treating 
the  whole.  Not  that  there  is  (as  in  oil  painting)  a certain  nec- 
essary routine  ; but  first,  because  this  work  will  doubtless  be 
used  by  persons  having  no  opportunity  to  witness  the  manipu- 
lations of  professional  colorists  ; and,  second,  because  a place 
is  afforded  here  to  record  certain  incidental  directions  which  can- 
not be  properly  classed  under  any  other  special  heading.  It  is 
not  intended,  by  any  means,  to  furnish  an  unalterable  pro- 
gramme, but  merely  a light  upon  the  student’s  pathway,  which 
will  enable  him  in  a little  while,  perhaps,  to  travel  alone. 

In  this  general  summing  up,  too — as  it  might  be  natural  to 
expect — there  will  no  doubt  occur  many  repetitions  of  ideas  which 
have  been  expressed  in  previous  chapters  ; but  it  is  assumed 
that  they  have  been  sufficiently  studied  there,  and  will  only  be 
alluded  to  here.  If  they  become  tedious,  our  excuse  is  that  we 
desire  to  leave  nothing  undone  which  may  be  considered  necessary 
or  advantageous  to  the  student’s  progress. 

It  may  be  further  remarked  at  the  outset,  that  the  considera- 
tion whether  anything  shall  be  done  upon  the  drapery,  acces- 
sories, or  background  before  working  the  face,  is  a matter  to  be 
determined  by  the  colors  which  it  is  intended  the  picture  shall 
contain.  If  it  is  to  include  any  considerable  masses  of  red  or 


WORKING  DIRECTIONS. 


II9 

yellow  (which  in  a reduced  form  constitute  the  basis  of  the 
flesh),  these  must  be  introduced,  to  some  extent  at  least,  first, 
else  the  flesh  will  be  overpowered. 

21^^  It  may  not  be  inappropriate  just  here  to  call  attention  to  a mat- 
ter which,  if  not  of  necessity,  is  certainly  one  of  advantage,  viz.,  the  order 
in  which  the  colors  should  be  rubbed  on  the  palette ; for  a judicious  and 
exact  arrangement  with  respect  to  the  various  hues,  saves  time  and  affords 
considerable  assistance  m.  after-practice.  Ultimately  the  student  will  be 
best  able  to  judge  for  himself,  but  at  present  he  is  recommended  to  place 
his  Cobalt  in  proximity  with  Indian  Red,  Vandyke  Brown,  Light  Red, 
Pink  Madder  and  Madder  Brown;  Neutral  Tint  adjoining  Vandyke 
Brown  and  Light  Red ; Indian  Yellow  between  Venetian  Red  and  Prus- 
sian Blue  ; Crimson  Lake  between  French  Blue  and  a little  Sepia;  Burnt 
Sienna  between  Indigo  and  Madder  Brown;  Yellow  and  Roman  Ochres 
side  by  side  ; and  the  browns  (the  Sepias,  Umbers,  Bistre,  etc,),  by  them- 
selves— say,  on  the  under  side  of  the  palette.  India-Ink  and  Lampblack 
must  be  kept  away  from  color,  and  should  have  their  own  separate  palette, 
wash-dishes,  etc. — for  the  sake  of  purity.  Tints  mixed  in  body-color,  and 
those  mixed  with  Gum  Arabic  for  porcelains,  must  also  be  kept  separate. 
These  suggestions  are  based  upon  experience,  and  the  arrangement  is  more 
especially  conformed  to  the  directions  and  mixtures  given  generally  in 
this  work.  The  Vermilions,  Whites,  Emerald  Green  and  Orange  Chrome 
should  be  rubbed  fresh. 


Working  Directions, 

1.  With  a clean  brush  and  pure  water,  go  over  thoroughly 
— but  very  lightly — all  the  flesh  parts  of  the  picture. 

2.  While  that  is  becoming  absorbed  and  partially  dry,  com- 
pound the  flesh-wash  according  to  the  tint  of  nature — keeping 
in  view  the  tone  of  the  photograph  (whether  light  or  dark, 
brown,  or  purple) — and  apply  it  expeditiously  with  a good-sized 
brush.  To  do  this,  commence  with  the  parting  of  the  hair,  and 
as  the  wash  flows  downward,  carry  it  into  all  the  corners  of  the 
face  (but  not  allowing  it  to  settte  there,)  and  upon  the  ears; 
but  carefully  avoid  washing  it  inside  the  line  of  the  eyes.  Keep 
an  abundance  of  the  wash-color  afloat,  and  constantly  moving, 
so  as  to  avoid  streaks^the  result  of  too  rapid  absorption  or  dry- 


120 


HOW  TO  PAINT  PHOTOGRAPHS. 


ing.  The  rapidity  of  the  flow  can  be  regulated  by  the  inclina- 
tion of  the  board  or  easel.  If  one  application  of  the  wash  pro- 
duces a too  feeble  tone,  do  not  apply  a second  until  the  first  is 
thoroughly  absorbed ; and  whatever  deficiencies  in  tint  become 
apparent  after  the  first  wash,  they  should  be  corrected  in  apply- 
ing the  second.  As  the  student  will  find  that  the  subsequent 
painting  has  the  effect  of  lessening  the  strength  of  the  flesh- 
wash,  it  will  be  found  of  advantage  in  the  first  place  to  com- 
pound it  to  a degree  over,  rather  than  under  the  tone  ultimately 
desired.  It  will  also  dry  much  paler,  and  if  anything,  the  yel- 
low should  predominate.  Securing  a good  flesh-wash  greatly 
assists  the  subsequent  work,  and  the  production  of  a successful 
picture. 

3.  Go  over  the  lower  lip  with  a quite  thin  wash  of  Vermil- 
ion ; if  it  is  very  dark.  Rose  Madder  and  a little  Orange  Chrome 
may  be  used.  As  these  washes  are  turbid,  guard  against  pro- 
ducing hard  edges.  Indian  Red  is  the  generally  accepted  color 
for  the  upper  lip  (it  being  for  the  most  part  in  shadow),  though 
it  is  often  necessary  to  enliven  this  Red  with  Lake  or  a previous 
wash  of  Vermilion. 

4.  Detail  the  most  important  shadows  of  the  face  (and  as  near 
as  possible  to  their  full  strength)  with  the  proper  shadow  colors, 
(see  page  65)  the  red  tone  predominating.  Many  of  the  shad- 
ows— particularly  those  under  the  chin,  and  sometimes  the  light- 
er one  on  the  brow^ — can  be  put  in  with  Indian  Red  alone. 
The  other  general  shadows  are  in  the  sockets  of  the  eyes,  on  the 
lower  part  of  the  nose  and  under  it,  and  below  or  behind  the 
ear.  These  shadows  are  to  be  partly  washed  and  partly  hatched, 
according  to  position. 

[The  Illumination  of  Shadows. — It  is  here  necessary  to  re- 
mind the  student  of  one  very  essential  point : Keep  all  the  fiesh- 

shadows  transparent.  Endeavor  to  manipulate  the  color  so  as 
to  be  able  to  look  into  the  shadow  ; and  as  photographers  do  not 
always  arrange  their^screens  so  as  to  save  the  artist  this  labor,  it 


WORXIXG  DIRECTIOXS. 


I2I 


is  important  that  the  matter  be  understood  and  attended  to. 
Therefore,  when  a disagreeable  blackness  occurs  beneath  the 
eyebrows,  under  the  nose,  behind  the  ear,  under  the  chin,  or 
on  the  shaded  side  of  a three-quarter  lace,  a thin  wash  of  Ver- 
milion, Light  Red,  or  Venetian  Red,  will  suffice.  If  the  shad- 
ow is  intensely  dark,  use  the  color  stronger,  avoiding  a hea\y  or 
daubed  appearance — the  Vermilion  being  opaque.  When  the 
shadow  is  of  an  ordinan*  degree  the  last-named  are  preferable. 
If  a greenish  tinge  is  wanted  in  the  shadow,  use  a mixture  of 
Olive  Green  or  Brown  Pink  and  Pink  Madder. 

It  may  be  remarked,  however,  that  since  the  adoption  of  the 
more  recently  introduced  practice  of  Retouching  the  Negative, 
these  intolerably  dark  shadows  may  be  easily  dispensed  with  be- 
fore the  photograph  is  printed  ; thus  gi^■ing  to  the  artist  an  un- 
objectionable basis,  and  relie\ing  him  from  a great  deal  of  per- 
plexing and  unnecessary  work.  Except  in  copies  and  old  style 
photographs,  the  presence  of  intensely  dark  shadows  should  not 
be  found.  With  the  ad^nntages  which  photographers  now 
possess,  a recurrence  of  the  feult  referred  to  is  inexcusable. 

While  upon  this  topic  of  illumination  it  is  proper  to  mention 
the  rejlKcted  lights,  which  are  so  necessary  to  produce  rotundity 
of  the  flesh  parts.  These  should  aheays  be  kept  iiarm.  For 
this  reflex — which  usually  occurs  on  the  outer  edge  of  the 
shaded  side  of  the  neck,  on  the  shaded  side  of  three-quarter 
feces  when  rather  dark,  upon  the  arms  when  bare,  and  the 
limbs  of  children — use  rwy  liquid  Orange  Chrome  with  a little 
Burnt  Sierma,  sometimes  Scarlet  Vermilion  alone.  ] 

5.  Now  proceed  to  draw  the  lines  of  the  eyelid,  which  may 
be  done  with  Burnt  Sienna.  Madder  Brown,  Lake  and  Sepia, 
and  Indian  Red.  The  last  is  best  adapted  for  children,  but 
must  not  be  too  strong.  A mixture  of  the  two  first-named — 
sometimes  allowing  one  or  the  other  to  predominate,  accord- 
ing to  circumstances — is  very  useful.  Do  not  draw  the  edge 
of  the  lower  lid  too  distinctly,  as  it  is  usually  in  full  light,  and 

^6 


122 


HOW  TO  PAINT  PHOTOGRAPHS. 


a rigid  line  tends  to  make  it  look  contracted,  and  the  whole  eye 
sleepy. 

With  one  of  these  mixtures  the  nostrils  may  also  be  indi- 
cated ; although  where  they  are  large,  and  transparency  is  re- 
quired in  the  shadowed  cavity.  Vermilion  should  be  used. 
The  line  of  partition  between  the  lips  may  now  be  drawn,  but 
as  the  exact  course  of  this  line  is  often  indefinite,  it  is  well  to 
progress  somewhat  in  otherwise  painting  the  mouth  before 
defining  this  line  with  too  great  exactness ; the  slightest  error 
in  so  doing  will  alter  the  expression  of  this  very  susceptible 
feature. 

6.  Paint  the  eyes ; and  as  this  feature  is  ‘ ‘ the  light  of  the 
countenance and  the  very  climax  of  the  portrait,  considerable 
attention  has  already  been  given  (in  a previous  chapter)  to  the 
manner  of  doing  it  properly.  The  student  need  not  be  urged 
to  the  importance  of  being  able  to  paint  good  eyes,  or  be  re- 
minded of  how  far  they  serve  to  make  up  an  excellent  portrait. 
He  may  otherwise  succeed  in  developing  a good  picture,  but 
badly  painted  eyes  will  always  prevent  his  rendering  a satisfac- 
tory portrait. 

7.  The  coloring  of  the  cheeks,  ear-tips,  chin,  and  the  intro- 
duction of  the  ‘ ‘ carnations  ’’  generally  may  now  be  done.  The 
lips  having  already  received  a local  wash,  should  be  heightened 
and  finished  with  Pink  or  Rose  Madder.  The  partition  line 
between  the  lips  and  the  corners  of  the  mouth  can  now  be  spe- 
cifically defined. 

8.  Put  on  the  local  color  of  the  hair,  eyebrows,  mustache,  or 
beard.  If  the  picture  is  large-sized  it  is  best  to  precede  the 
hair-wash  with  one  of  pure  water.  The  form  and  direction  of 
the  hair  is  generally  well  indicated  in  photographs,  but  as  that 
of  the  eyebrow  is  not  (throughout  its  entire  length),  it  is  proper 
to  note  here  that  they  differ  somewhat  from  the  hair  of  the  head, 
and  are  usually  darker.  They  are  seldom  or  never  perfectly 
‘ ‘ arched in  nature,  so  that  to  paint  them  in  that  style  is  pal- 
pably wrong.  They  are  always  heavier  as  they  approach  the 


WORKING  DIRECTIONS. 


123 


nose,  and  instead  of  being  parallel  with  the  eyelids  they  are 
always  nearest  the  eye  at  its  inner  angle.  Be  sure  to  avoid 
stiffness,  and  the  wiry  manner  in  which  the  eyebrow  is  too  often 
drawn. 

9.  Work  on  the  bluish  shadows — using  Cobalt — over  the 
temples,  at  the  corners  of  the  mouth,  under  the  lower  lip,  and 
in  men’s  faces,  where  may  occur  the  bluish  traces  of  a clean- 
shaved  beard.  Most  of  this  must  be  done  by  stippling ; and 
the  tone  kept  h\u-zs/i,  not  blue  ! 

10.  The  face  being  considerably  advanced,  it  is  time  to  wash 
on  the  local  tint  of  the  background  ; although  some  may  pre- 
fer doing  this  even  before  painting  the  hair.  However,  as  the 
hair  still  remains  to  be  finished,  this  operation  may  be  consid- 
ered timely  here.  By  so  doing  we  can  also  better  determine 
the  depth  of  color  necessary  for  the  face  and  hair.  The  effect 
of  the  untouched  part  of  the  photograph  around  the  head  is  to 
make  the  colors,  by  contrast,  darker  than  they  really  are  ; but 
let  a dark  background  be  worked  in,  and  then  the  flesh  tints, 
which  before  this  appeared  dark  enough,  will  now  look  consid- 
erably paler  as  compared  with  the  dark  background. 

11.  Whenever  this  is  the  case,  as  it  not  uncommonly  is,  ad- 
ditional color  should  be  added  to  the  face  ; but  this  time  it  cazi- 
not  he  washed,  and  must  be  hatched  on — the  lines  following  the 
direction  of  the  features,  and  never  crossing  each  other  at  right 
angles.  This  exigency  will  remind  the  student  of  our  former 
observation  respecting  the  advantage  of  a strong  flesh-wash  at 
the  commencement  of  the  work. 

12.  The  principal  shadows  of  the  face  having  been  all  put 
in,  and  the  lights  scrupulously  reserved,  if  it  appears  that  the 
high  lights — on  the  forehead  (the  chief  one),  tip  of  the  nose, 
and  chin — are  still  insufficient  to  produce  a good  effect,  they 
can  be  increased  in  clearness  by  a slight  ‘ ‘ rubbing  out  ” of  the 
flesh-wash  with  a piece  of  very  soft  and  clean  India-rubber. 
Great  care,  however,  must  be  used  in  this  operation,  lest  the 
rubbing — which  should  be  done  by  a light,  circular  motion — 


124 


HOW  TO  PAINT  PHOTOGRAPHS. 


may  produce  a hard  edge  around  the  light  spot  obtained,  and 
the  surface  of  the  paper  also  be  made  rougher  than  the  rest  of 
the  face.  [It  will  perhaps  be  thought  unnecessary  to  cover  up 
the  lights  which  are  afterwards  to  be  taken  out,  but  lights  taken 
out  from  a mass  of  color  are  more  effective  than  those  which  are 
left  during  the  painting.]  This  intensifying  of  the  lights  is 
usually  done  by  using  Chinese  White  ; but  it  is  very  heavy,  and 
unless  applied  with  extreme  delicacy,  produces  a daubed  effect. 
The  use  of  a body-color,  however,  is  unavoidable  to  obtain  light 
along  the  ridge  of  the  nose;  and  for  relief  and  rotundity  at  the 
point  of  it.  Flake  White,  possessing  less  body,  might  be  pref- 
erable to  Chinese. 

13.  Detail  can  now  be  given  to  the  hair,  whiskers,  mustache, 
etc.  Remember  the  former  directions  to  avoid  a stiff  and  wiry 
appearance  of  the  lines.  Such  stray  locks  as  lie  against  the  face 
should  be  worked  in  a soft  manner,  using  the  color  with  less 

• strength,  and  leaving  no  hard  edge-lines.  Where  the  hair  is 
made  to  commence  at  the  roots,  at  the  parting,  and  along  the 
temples  and  ears,  paint  with  delicacy  (always  working  from  the 
roots),  so  as  to  blend  the  hair  with  the  flesh.  Soften  with  gray 
the  entire  line  of  the  hair  around  the  face.  Also  give  some 
horizontal  touches  of  strong  color  in  the  eyebrows,  where  they 
approach  the  nose  or  where  the  hair  naturally  grows  the  thick- 
est. If  what  has  already  been  done  in  the  background  is  suffi- 
cient, the  outline  of  the  head  may  now  be  softened,  to  avoid  the 
effect  of  appearing  ‘ ‘ inlaid.  ” 

• 14.  Next,  a general  examination  and  correction  may  be  given 
to  the  entire  face.  Soften  and  round  such  parts  as  still  require 
it.  Remember  that  shadows  indicate  the  form  ; therefore  see 
that  the  stronger  ones  are  very  full  and  warm  in  color,  accurate 
in  form,  and  let  every  shadow  have  a gray  edge.  Keep  the 
half-tints  broad  and  cool.  If  any  of  the  shadows  have  been 
made  too  purple,  neutralize  them  with  green  ; if  too  green, 
work  on  them  with  purple  ; if  too  blue,  hatch  them  with  orange 
(Venetian  Red  and  Yellow).  The  deep  shadow  under  the  chin 


WORKING  DIRECTIONS. 


125 


may  have  a Ijttle  Sepia  with  it.  If  the  hatching  has  been  done 
with  a too  wiry  effect,  work  very  lightly  over  it  with  a brush  just 
moistened  in  plain  water,  to  blend  and  soften  the  lines. 

Although  there  is  a little  of  the  greenish  tint  in  nearly  all  faces 
it  is  noticeable  that  some  contain  a great  deal — especially  those 
of  women  and  children,  where  it  serves  greatly  to  enhance  the 
carnations.  The  edge  of  the  shadow  on  the  forehead  is  some- 
times greenish,  and  in  female  faces  it  may  be  introduced  deli- 
cately on  the  neck,  and  in  rounding  the  cheeks  and  chin.  In 
like  manner  it  may  be  used  at  the  angles  of  the  eyebrows  and 
nose.  In  compounding  a green  for  this  purpose,  make  it  of  a 
rather  yellowish  tone.  [In  recommending  the  use  of  green, 
however,  we  desire  to  explain  to  the  student  that  this  color  is 
not  to  be  used  with  such  force  as  to  give  to  any  part  of  the  flesh 
an  actual  green  but  a merely  green-zj--^  tone ; and  he  should 
guard  against  the  habit  of  its  over-use.  Nothing  is  more  of- 
fensive to  a discriminating  eye  than  this  abuse  of  green,  because 
it  suggests  disease !] 

Strengthen  the  ^ ‘ touches  if  necessary  ; but  exercise  care  in 
giving  definition  to  these,  lest  the  expression  become  changed. 
Perhaps  the  carnations  need  intensifying  and  the  lips  some  ad- 
ditional roseate  hue.  Endeavor  to  give  these  last  applications 
on  the  cheeks  in  the  spot  which  seems  to  be  the  very  outer 
point,  and  where  the  color  naturally  reaches  a climax.  In 
females,  and  more  particularly  in  children,  this  additional  color 
if  done  properly  with  Pink  Madder  and  a very  little  Scarlet 
Vermilion,  produces  that  delicious  effect  termed  “waxy"’  or 
‘ ‘ peachy.  ” 

1 5.  The  face  being  now  virtually  painted,  it  needs  a general 
finishing  and  softening  with  .the  ‘ ‘ cool  gray  tint,  ” — Cobalt  and 
Indian  Red — or  Cobalt  and  Pink  Madder,  the  ‘ ^ pearly ''  tint. 
Make  all  the  retiring  and  rounded  parts  gray.  The  general 
tint  of  the  neck  being  paler  than  that  of  the  face,  its  shadows 
are  also  to  be  made  cooler.  This  will  necessitate  a liberal  use 
of  the  gray  before  mentioned,  which  should  be  of  a bluish  tint 


126 


HOW  TO  PAINT  PHOTOGRAPHS. 


as  its  application  nears  the  bosom  and  upon  the  light  side  of 
the  neck.  Perhaps  the  working  of  Cobalt  alone  over  the  Indian 
Red  shadows  will  give  the  desired  gray  tone  in  many  places. 
It  is  not  only  proper  but  important  to  remind  the  student  that 
a clean  and  bright  gray  tone  will  only  result  when  the  blue  is 
worked  upon  the  red  ; but  if  in  the  opposite  order  the  gray  will 
be  iiiuddy  and  bad.  This  gray  should  be  used  plentifully 
around  the  eyebrows  and  every  place  where  the  hair  comes  in 
contact  with  the  flesh,  in  order  to  prevent  harshness.  The 
outer  terminations  of  the  eyebrows  should  be  so  worked  with 
gray  as  to  appear  lost  in  the  flesh. 

1 6.  Attention  should  now  be  given  to  the  painting  of  the 
drapery  ; but  as  full  directions  have  been  given  elsewhere  it  is 
unnecessary  to  enlarge  further  here.  However,  attention  has 
not  yet  been  directed  to  the  fact  that  rows  of  dress-buttons,  etc. 
— especially  prominent  in  photographs  of  women  and  children 
— increase  in  size  as  they  are  distant  from  the  focus-point,  the 
face.  Remember  to  correct  this  faulty  drawing,  and  define  them 
alike  in  size. 

As  a cardinal  rule,  the  student  should  never  ‘ ‘ kill  ’’  the  flesh 
by  the  selection  of  an  improper  color  for  the  drapery ! but 
rather  choose  such  as  will  harmonize  with  and  enhance  the  tone 
of  the  flesh,  whilst  it  improves  the  figure. 

1 7.  If  it  appears  singular  to  the  student  that  nothing  has  thus 
far  been  said  respecting  the  Arms  and  Hands — except  to  assume 
that  they  have  already  received  the  flesh-wash  as  directed  in 
Section  2 — our  reason  is,  that  when  the  photograph  contains 
arms  and  hands,  it  is  preferable  to  reserve  the  after-painting  of 
them  until  the  local  color  has  been  given  to  the  surrounding 
drapery  ; or  even  until  it  is  finished,  as  by  so  doing  the  proper 
degree  of  color  for  the  arms  and  hands  is  more  likely  to  be  ob- 
tained at  a single  painting.  If  painted  before  instead  of  after, 
the  probabilities  are  that  the  strength  of  the  drapery-color  has 
rendered  the  flesh  too  feeble  in  tone,  and  the  work  will  have  to 
be  gone  over  a second  time.  Directions  for  the  painting  of 


WORKING  DIRECTIONS. 


127 


these  having  been  given  fully  elsewhere,  it  only  remains  to  add 
here,  that  all  the  edges  must  be  softened  against  the  drapery,  and 
the  flesh  itself  kept  to  a tone  subservient  to  that  of  the  face. 

[Indeed,  it  is  a rare  thing  in  photographic  portraits,  that  the 
hands  and  arms  are  found  sufficiently  well  posed  and  propor- 
tioned to  add  any  beauty  to  the  whole  ; but  on  the  contrary  are 
for  the  most  part  too  large  in  men,  and  so  lanky  and  angular 
in  women,  that  they  puzzle  both  photographer  and  artist  to  ren- 
der them  in  any  degree  picturesque  !] 

18.  The  painting  of  chairs,  or  table  covers,  the  introduction 
of  curtains  or  other  accessories,  and  a general  finishing  of  the 
background  will  almost  conclude  the  student's  effort.  In  so 
doing,  he  will  remember  (i.)  to  soften  the  entire  edge  of  the 
head  and  figure  against  the  background,  and  preserve  such  a 
unity  that  the  eye  of  the  spectator  is  drawn  involuntarily  to  the 
PORTRAIT.  (2.)  It  is  opportune  also  to  warn  the  student  against 
bad  taste  in  breaking  down  his  picture  with  too  many  acces- 
sories, or  too  much  elaboration  in  the  background  ; remember- 
ing that  it  is  only  proper  to  add  curtains,  carpets,  and  the  like, 
when  it  is  desirable  or  necessary  to  assist  the  position,  or  intro- 
duce a color  as  complementary  to  the  drapery  of  the  figure,  and 
therefore  give  it  additional  beauty  and  power. 

19.  The  work  of  painting  being  supposed  now  finished,  thin 
Gum  Arabic  may  be  applied  where  it  is  deemed  necessary  to 
produce  brilliancy,  and  to  give  depth  to  the  extreme  shadows. 
But  as  heretofore  advised,  it  must  be  used  with  great  caution,  in 
order  to  avoid  harshness  and  a vulgar  effect.  The  less  that  is 
used  the  better ! 

Sometimes  the  surface  to  be  painted  contains  small  specks, 
little  discolorations,  or  foreign  matter  in  the  paper,  which  must 
be  got  rid  of ; and  which,  if  they  have  not  been  totally  obliter- 
ated in  the  process  of  coloring  should  now  be  touched  out  of 
sight  with  opaque  color,  Flake  or  Chinese  White,  tinted  to  suit 
the  locality ; especially  on  the  lights,  this  operation  must  be 
done  with  great  delicacy,  and  the  color  used  not  too  heavy,  lest 


128 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  touches  will  have  the  appearance  of  pimples.  If  it  becomes 
necessary  to  use  the  eraser,  the  spot  must  be  burnished  down  a 
little,  and  even  then  sometimes  retouched  with  body-color. 

20.  In  conclusion,  the  attention  of  the  student  is  called  to 
the  fact  that,  as  he  is  supposed  to  have  been  gazing  uninterrupt- 
edly at  the  picture  before  him,  his  eye  is  apt  to  weary,  and  he 
may  overlook  deficiencies  which  he  would  readily  detect  at  an- 
other time  with  his  vision  afresh.  Therefore,  it  is  recommend- 
ed that  he  shall  ease  his  eye  by  reversing  the  position  of  his  pic- 
ture, which  can  be  done  conveniently  by  viewing  it  in  a mirror  ; 
and  this  being  done,  he  will  not  only  find  the  change  agreeable 
but  he  will  also  be  the  better  able  to  discover  any  existing  faults, 
which  otherwise  might  have  passed  unnoticed.  The  use  of  the 
mirror  is  especially  an  excellent  method  of  testing  the  correct- 
ness of  his  drawing  in  the  background  and  accessories. 

Indeed,  during  the  whole  work — say  about  once  every  hour 
— it  is  of  advantage  to  leave  the  easel,  or  cast  the  eye  upon 
something  distant  for  a few  minutes ; thereby  relieving  the 
strain  upon  its  focus  and  giving  it  rest.  Furthermore,  after 
looking  some  time  at  a color  the  eye  becomes  fatigued,  blind, 
and  to  a certain  degree  incapable  of  seeing  it  as  it  is ; where- 
fore, unless  it  can  be  restored  by  looking  at  the  color  compensa- 
tory to  that  by  which  its  strength  was  impaired,  rest  must  be 
had. 

Note. — The  foregoing  chapter  has  been  written  on  the  sup- 
position that  there  has  been  but  one  copy  of  the  photograph  in 
hand,  because  it  is  more  desirable  that  the  student  should  exer- 
cise care  with  one  than  indifference  with  two.  Nevertheless,  the 
advantage  of  a duplicate^  when  it  can  be  had,  is  important,  and 
which  if  it  does  no  good  it  certainly  can  do  no  harm. 


Origin  and  Characteristics, 

To  those  who  are  unacquainted  with  the  details  of  a photog- 
rapher’s labors  we  may  say,  that  negatives  are  not  always  ma- 
nipulated so  perfectly  as  to  render  the  prints  made  from  them 
totally  free  from  speck  or  blemish^  however  slight.  These  imper- 
fections, arising  from  the  use  of  indifferent  chemicals  and  bad 
handling,  and  sometimes  from  causes  even  beyond  the  oper- 
ator’s knowledge  and  control,  are  much  more  likely  to  appear 
in  the  production  of  large  than  in  small-sized  negatives  and 
pictures. 

The  occurrence  of  these  imperfections  and  the  consequent 
necessity  of  ‘ ‘ touching  them  out  ” of  sight  in  the  photograph, 
doubtless  gave  rise  to  that  description  of  artistic  labor  of  which 
this  chapter  will  treat.  Commencing  as  a simple  necessity  with 
the  photographer,  it  has  advanced  in  the  hands  of  the  artist  to 
results  among  the  finest  and  most  appreciable  in  modern  art. 

The  pigment  known  as  India  or  Chinese  Ink  having  been 
always  used  by  architects  and  draughtsmen  in  general  as  a con- 
venient and  an  acceptable  black,  was  naturally  adopted  by  the 
photographic  profession ; and  although  its  original  use  (for 
Oriental  chirography)  is  as  a positive  black,  it  is  susceptible  of 
giving,  with  clearness  and  beauty,  all  -the  shades  between  white 
and  black,  and  has  been  permanently  adopted  by  the  profes- 
sional colorist. 

Notwithstanding  it  is  beautiful,  delicate  and  transparent,  it 
will  generally  be  found  wanting  in  power  for  the  deepest  effects 


130 


HOW  TO  PAINT  PHOTOGRAPHS. 


in  large  work — Lampblack  being  preferable — although  a certain 
degree  of  strength  may  be  obtained  by  adding  the  latter  to  the 
former,  without  altogether  impairing  its  characteristic  beauty 
and  clearness. 

The  student  should  be  particular  in  trying  to  obtain  a piece 
of  genuine  India-Ink — much  of  that  in  the  market  being  coarse 
in  quality  and  only  an  imitation.  The  spurious  article  will  be 
found  very  highly  scented  with  musk,  and  containing  so  much 
gum  that  it  is  very  hard,  and  too  glossy.  The  possession  of 
genuine  Ink  having  a neutral  tone  is  no  small  advantage  at  the 
outset,  because  it  intervenes  no  drawback  to  the  accomplish- 
ment of  good  work,  and  can  be  toned  to  suit  the  photograph  in 
hand. 

India-Ink  Work  is  simply  drawing  with  the  brush  and  color 
instead  of  the  pencil  or  crayon.  It  is  therefore  very  evident 
that  he  who  has  the  best  acquaintance  with  the  art  of  drawing 
will  accomplish  the  most  in  India-Ink  work.  The  principles 
which  govern  light  and  shade — chiaro  oscuro — comprise  the 
very  foundation  of  success  in  this  branch,  and  should  be  per- 
fectly understood. 

The  advantage  of  color  to  assist  in  imitating  an  object  is 
wholly  absent  here,  and  a favorable  result  must  depend  entirely 
upon  the  correctness  which  has  been  given  to  the  form,  togeth- 
er with  its  lights,  shadows,  reflexes,  strength  or  delicacy,  and 
tone.  Especially  is  this  the  case  when  working  up  the  pictured 
human  countenance  : and  whatever  be  the  student’s  knowledge 
or  ignorance  of  facial  anatomy,  it  will  become  the  most  appar- 
ent in  this  particular  kind  of  brush  work.  He  may  very  often 
be  required  to  display  his  abilities  upon  photographic  faces  which 
the  old-fashioned,  over-intense  negatives  have  made  perfectly 
white  and  flat — devoid  of  half  tones,  and  perhaps  without  any 
graduated  shadows  at  all — in  which  exigency  he  will  at  once 
discover  the  absolute  necessity  of  acquainting  himself  with  ana- 
tomical drawing — at  least  so  far  as  it  applies  to  the  face. 


PRACTICAL  DIRECTIONS. 


I3I 


The  Tiroper  JPhotograph. 

Photographs  to  be  finished  as  ^‘India-Ink  Work,”  should  be 
printed  a little  darker  than  usual,  from  the  fact  that  they  work 
up  lighter^  and  in  order  to  secure  all  the  half  shades.  Those 
are  best  adapted  to  this  description  of  brush-work,  and  most 
easily  finished,  which  abound  in  the  half  shades  ; and  which, 
being  well  developed,  the  student  will  have  no  difficulty  in 
working  up  the  high  lights  or  graduating  to  the  deepest 
shadows. 

India-Ink  work  is  always  expected  to  be  done  on  ‘‘plain” 
paper ; but  if  it  is  desired  to  retouch  or  work  up  a face  on  albu- 
men paper,  it  will  be  necessary  to  mix  a very  little  Gum  Arabic 
with  the  pigment  to  give  it  sufficient  adhesion,  and  overcome 
the  ‘ ‘ grease  ” of  the  albumen  surface. 

This  method  is  receiving  more  attention  than  formerly,  but 
chiefly  in  the  principal  city  galleries,  where  fine  work  is  appre- 
ciated and  paid  for  ! Though  the  smoother  surface  of  the  albu- 
menized  paper  affords  a more  distinct  and  brilliant  ground  for 
the  work,  it  is  undeniable  that  the  picture  cannot  be  considered 
as  entirely  permanent,  and  the  extraordinary  patience  and  labor 
required  will  scarcely  render  it  popular  or  remunerative. 


Tractical  Di/rections, 

The  order  of  procedure  with  India-Ink  work  is  mainly  about 
the  same  as  with  color  : commencing  by  a definition  of  the 
heavier  lines  and  shadows  of  the  face,  and  continuing  the  same 
with  the  hair — thereby  imparting  a vigor  quite  different  from 
the  untouched  photograph. 

Such  details  in  regard  to  the  manner  of  working — drawing 
the  features  respectively — as  have  already  been  given,  will  suffice 
to  direct  the  student  here  ; besides  which,  the  photograph  itself 
will  assist  him  more  than  in  the  former  case,  where  some  of  it 
becomes  partially  obscured  by  local  washes. 


132 


HOW  TO  PAINT  PHOTOGRAPHS. 


In  using  the  pigment  itself  the  best  form  is  that  akin  to  a 
wash.  It  should  rarely  be  applied  thick  enough  to  accomplish 
the  desired  shade  at  once — except  in  positive  lines,  such  as  occur 
in  the  hair.  The  weightier  tones,  required  to  give  strength  to 
the  deeper  shadows,  ought  to  be  obtained  by  successive  applica- 
tions, moderately  thin,  else  transparency  will  be  lost  and  sooti- 
ness ensue.  The  student  should  take  as  his  motto,  ‘ ‘ Little  Ink 
and  much  labor.” 

The  flesh  must  be  worked  by  hatching  and  stippling  as  here- 
tofore mentioned,  and  reduced  to  evenness  of  shade  by  going 
between  and  around  such  spots,  harsh  lines,  and  rough  places 
as  have  been  photographed  from  the  skin — in  cases  where  these 
asperities  have  not  been  softened  or  remedied  by  retouching 
upon  the  negative.  In  so  doing,  commence  with  the  stronger 
portions  and  proceed  toward  the  lights,  at  the  same  time  reduc- 
ing the  strength  of  the  Ink.  If  the  print  is  of  a neutral  tone, 
there  will  be  no  difficulty  in  obtaining  a clear,  silver-gray  light 
on  the  forehead,  nose,  and  other  prominent  parts.  • If  this  tone 
be  desired,  it  is  quite  convenient  to  have  two  washes  at  hand — • 
one  toned  with  blue  (Cobalt),  for  use  in  the  light  parts,  which 
should  always  be  clean  and  brilliant. 

Concerning  tones,  however,  there  exists  a great  variety  of  opin- 
ions. Formerly  everything  was  neutral ; at  present  the  tendency 
is  more  for  the  so-called  ‘ ‘ warm  ” tones  ; but  in  general  pho- 
tography the  practical  results  are  about  divided  between  reddish- 
brown,  gray,  purple,  and  purplish-brown.  To  imitate  any  one 
of  these  as  a rule  will  scarcely  do,  nor  would  it  be  found  very 
easy  to  accomplish  by  a process  of  the  hand  that  which  is  simply 
a chemical  result.  But  on  the  whole  it  is  easy  enough  to  choose 
between  a cold  and  warm  tone,  and  the  student  can  decide 
which  is  the  more  practicable  and  pleasing.  To  obtain  the 
former,  if  the  Ink  is  not  sufficiently  neutral,  use  Cobalt ; for  the 
others,  add  Dragon's  Blood  alone,  or  with  Sepia  for  a brownish 
and  Indigo  for  a purplish  tinge.  After  all,  there  are  so  many 
photographs  which  baffle  any  ton^  whatever  ^ except  a dirty 


PRACTICAL  DIRECTIONS. 


133 


yellowish-brown  — it  is  best  to  affect  no  special  rule  on  this 
subject. 

In  general  the  face  can  be  finished  before  the  drapery  and 
background  are  touched,  except  it  be  a vignette  head  on  a white 
ground,  in  which  case  the  washes  that  are  to  serve  as  a basis  for 
the  ‘ ‘ clouding ''  should  be  laid  early  in  the  work.  This  will 
enable  the  student  to  better  estimate  his  tone  and  strength  of 
shade,  which  would  otherwise  appear  much  lighter  after  the 
cloud-washes  are  put  on.  The  remaining  portions  of  the  pic- 
ture are  to  be  completed  according  to  instructions  given  in 
previous  chapters. 

It  should  be  observed  that,  as  the  photograph  does  not  give 
a true  indication  of  the  natural  color  of  the  hair  and  eyes,  it  is 
always  best  to  ascertain  what  they  are  ; so  that  there  shall  be  no 
uncertainty  concerning  the  tendency  of  your  working,  whether 
toward  light  or  dark,  as  the  case  may  require.  Without  this 
knowledge,  the  photograph  itself  may  induce  grave  errors; 
whereas  it  is  intended  that  in  Ink-work  the  natural  color  shall  be, 
as  near  as  possible,  indicated  by  the  tone  and  depth  of  shade. 

The  drapery  in  most  instances  will  have  to  be  done  with 
Compound  Black.  India-Ink  lacks  power,  except  when  used 
very  thick  ; and  that  is  not  to  be  permitted,  as  it  would  not  only 
totally  obscure  the  texture  and  smaller  folds,  but  produce  a sooty 
and  daubed  effect ! Lampblack  possesses  abundant  strength, 
but  it  is  also  too  opaque  ; whereas  the  Compound  Black — Indi- 
go, Lake  and  Sepia — is  no  less  transparent  than  powerful,  fresh, 
and  permanent.  Nor  has  India-Ink,  of  itself,  a good  tone  for 
drapery,  as  it  is  too  dull ; but  it  may  sometimes  be  used  in 
vignette  pictures,  which  as  a rule  do  not  require,  and  should 
not  have,  the  strength  essential  to  the  drapery  of  a bust  or  figure 
with  solid  background. 

The  hands  are  most  generally  surrounded  by  the  drapery, 
and  for  this  reason  appear  too  white  ; especially  so  as  compared 
with  the  face.  It  is  therefore  necessary  to  break  this  whiteness 
by  a very  light  wash,  preparatory  to  further  working  ; and  then, 


134 


HOW  TO  PAINT  PHOTOGRAPHS. 


when  being  modelled,  if  they  are  flat  and  deficient  in  rotundity, 
great  assistance  is  to  be  derived  from  ‘ ‘ rubbing  out the  lights 
as  they  occur  on  the  knuckles  and  joints.  Remember,  too,  how 
the  outer  edges  along  the  black  drapeiy  need  a blending-touch 
^ipure  (normal)  gray  : — “colored”  gray  must  never  be  used  in 
Ink  pictures. 

If  blue  (Cobalt)  has  not  been  used  in  the  modelling,  as  al- 
ready suggested — to  impart  a brilliant  tone  to  the  delicate  shad- 
ing about  the  highest  lights,  clearing  them  up  to  a beautiful 
gray  tone — it  must  be  worked  in  now* ; but  it  must  not  be  car- 
ried so  far  as  to  disclose  the  presence  of,  and  actually  look, 
blue. 

In  the  smaller-sized  pictures  it  is  often  desired  (by  customers), 
that  the  cheeks  be  tinted  ; and  indeed — though  it  be  not  strictly 
artistic  or  legitimate — it  is  not  to  be  denied  that  Pink  Madder 
is  of  advantage  in  warming  the  tone,  and  giving  freshness  and 
the  effect  of  rotundity  to  the  cheeks. 

Sometimes  also  a delicate  first-wash  of  Indigo  may  be  laid 
for  the  clouding  about  a vignette  head  ; but  it  should  not  be 
done  if  the  photograph  has  anything  of  a muddy  or  brownish 
tone.  The  pure  tint  of  the  Indigo  would  conflict  with  any 
photographic  tone  but  the  neutral  or  gray,  while  it  also  tests  the 
cleanliness  in  the  working  of  the  Ink. 


Copied  ^Pictures  in  India--Inh, 

Perhaps  the  most  common  and  important  use  of  the  India- 
Ink  process  is  for  working  up  photographed  copies  of  old  da- 
guerreotypes, ambrotypes,  miniatures,  reproducing  photographs, 
etc., — valued  likenesses  of  deceased  friends — and  by  this  means 
to  restore  the  faded  or  injured  picture,  rendering  it  suitable  to 
be  framed.  In  view  of  this  operation  the  student  should  fully 
comprehend  his  work,  and  discriminate  between  the  uses  re- 
spectively of  Ink,  Lampblack,  and  the  Compound  Black — in 
what  situation  to  apply  them,  and  what  effect  they  will  have. 


COPIED  PICTURES  IN  INDIA-INK. 


135 


Sometimes  one  will  answer  well  where  another  would  not  do  at 
all ; and  in  copies,  where  there  are  generally  many  drawbacks, 
it  is  certainly  advantageous  to  know  how  to  do  the  best  thing  in 
the  quickest  way.  As  the  imperfections  of  the  copy  can  for  the 
most  part  be  more  easily  corrected  and  hidden  by  the  India- 
Ink  process  than  with  color,  it  is  generally  preferred. 

The  specks  and  blotches  appearing  white  or  light  in  the  dark 
parts  must  be  stippled  over,  and  conversely  in  the  light  parts ; 
if  they  cannot  be  made  to  disappear  by  working,  or  taken  out 
delicately  with  the  Eraser,  they  may  be  covered  with  Chinese 
White,  or  gray,  as  the  situation  demands.  When  the  copy  is 
weak  and  very  dim,  gather  up  the  half-tones  before  drawing  the 
more  definite  lines,  or  strengthening  the  deeper  shadows ; be- 
cause they  are  more  perceptible  then  than  they  would  be  after- 
wards, and  especially  after  the  eyes  and  hair  are  worked.  Not 
unfrequently  great  assistance  is  derived  from  making  a differ- 
ence in  the  tone  of  figure  and  background — keeping  the  figure 
warm,  against  a cold  or  neutral  ground.  Furthermore,  if  the 
copied  figure  is  a mere  shadow  (and  this  is  not  a rare  case),  it 
will  gain  strength  by  making  the  background  quite  dark,  which 
can  be  done  by  pastel  to  any  degree.  When  these  extreme 
necessities  arise,  any  means  by  which  the  effect  is  produced  must 
be  considered  legitimate  and  proper. 

As  a general  thing  the  working  up  of  copies  will  require  more 
force  than  a photograph  from  life,  and  more  care  too,  from  the 
fact  that  the  enlargement  of  the  copy  has  produced  diffusion  of 
the  lines  and  a general  indistinctness.  Frequently  this  extends 
to  such  a degree  as  renders  it  impossible  to  work  without  con- 
stantly referring  to  the  original  for  guidance ; and  the  student 
is  advised  for  these  reasons  not  to  undertake  a copy  unless  he 
has  the  original, — or  is  otherwise  thoroughly  posted. 

The  method  of  working  backgrounds  in  Pastel  will  probably 
be  employed  more  frequently  in  doing  these  old  copies  than  for 
any  other  purpose,  and  the  student  is  now  referred  to  the  for- 
mer chapter  on  Backgrounds  in  Soft  Pastel, 


136 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  Use  of  Other  JPigments. 

The  difficulty  already  mentioned  of  obtaining  with  India-Ink 
a degree  of  power  that  would  make  it  applicable  to  the  larger- 
sized  (solar)  photographs,  will  not  only  suggest  but  necessitate 
the  adoption  of  other  pigments  and  compounds  for  this  kind  of 
pictures,  although  the  old  and  familiar  name  of  ‘ ‘ India-Ink  ” 
still  attaches  to  the  finished  work.  It  will,  however,  remain  to 
be  tested,  whether  anything  else  can  be  handled  for  the  flesh-parts 
in  preference  to  the  Ink. 

Among  these  substitutes  perhaps  the  simplest  and  most  con- 
venient is  Lampblack,  with  which  the  student  will  be  able  to 
produce  every  gradation  and  depth  of  shade.  Lampblack  is 
chiefly  available  for  large  work  on  account  of  its  opacity,  which 
accelerates  the  labor,  because  every  touch  of  the  brush  produces 
an  instant  and  positive  effect ; whereas  India-Ink  dries  consid- 
erably lighter  than  when  freshly  applied.  If  a warm  tone  is 
desired,  add  a little  Sepia  and  Lake.  An  excellent  combina- 
tion is  made  by  adding  some  Dragon’s  Blood  to  the  Lampblack, 
and  then  just  enough  of  Indigo  to  correct  or  neutralize  it. 

The  Compound  Black — Indigo,  Lake,  and  Sepia — is  also  a 
good  mixture  for  this  purpose,  and  preferred  by  some  to  Lamp- 
black in  those  parts  where  clearness  is  more  essential  than  power. 
It  may  be  composed  with  a cold  or  warm  tone,  by  allowing  the 
first  or  the  other  two  to  predominate  ; and  this  choice  gives  it 
the  advantage  of  being  suitable  to  almost  any  tone  of  the  pho- 
tograph. It  is  beautifully  transparent,  and  can  easily  be  ma- 
nipulated with  clean  and  brilliant  results. 

To  obviate  the  fugitive  quality  of  the  Lake  contained  in  the 
mixture,  and  secure  the  utmost  permanence,  the  Madders  could 
be  used  instead,  although  these  will  be  found  somewhat  defi- 
cient in  power. 

In  all  descriptions  of  “India-Ink  Work,”  the  use  of  White 
— Chinese  or  Flake,  according  to  the  brightness  required — 
must  not  be  forgotten  for  collars,  laces,  linen,  and  other  pure 


THE  USE  OF  OTHER  PIGMENTS. 


137 


lights.  Opaque  gray  (Lampblack  and  Chinese  White)  will  also 
be  applied  for  the  half-lights  upon  dark  surfaces,  and  graduated 
according  to  the  situation.*  Gum  Arabic  must  be  used  spar- 
ingly to  produce  the  extreme  depth  of  shadows,  and  give  lustre 
to  the  hair,  eyes,  jewelry,  buttons,  etc.  Remember  too  that 
upon  black,  more  than  on  any  base,  the  Gum  produces  an 
instant  and  powerful  effect. 


Jainling  xttt 


Whether  plain  or  colored,  porcelains  are  avowedly  superior 
in  softness,  finish  and  brilliancy,  to  anything  which  the  photo- 
graphic art  has  thus  far  accomplished.  The  skill  of  the  artist  is 
here  greatly  aided  by  the  peculiar  texture  of  the  surface  on 
which  the  photograph  has  been  printed,  and  the  result  is  a 
pictorial  effect  far  surpassing  that  of  the  finest  miniatures  on 
Ivory,  while  produced  at  very  much  less  expense. 

Porcelain  photographs  intended  for  coloring  must  be  invari- 
ably made  on  plates  which  have  a granulated  and  not  a polished 
surface.  It  would  be  folly  to  attempt  the  application  of  water 
colors  upon  the  latter,  for  general  purposes,  though  it  can  be 
done  to  a limited  degree,  after  coating  the  plate  with  a thin  so- 
lution of  white  glue.  The  granulated  plates,  however,  which 
are  specially  prepared  for  the  purpose,  afford  a good  and  a suf- 
ficient ‘ ‘ tooth ''  to  hold  the  color,  and  give  altogether  a better 
surface  for  working. 

For  the  most  part,  the  handling  is  the  same  as  for  photo- 
graphs on  paper,  except  that  the  following  points  must  always 
be  kept  in  mind  : You  paint  into  the  paper,  whilst  you  paint 

upon  the  porcelain.  The  paper  will  absorb  the  color  ; the  por- 
celain will  not.  Consequently,  a less  amount  of  the  work  can 
be  done  by  washing  than  on  a paper  picture,  and  by  far  the 
greater  part  must  be  performed  by  hatching  and  stippling. 

Even  the  small  amount  of  washing  necessary  must  be  treated 


PAINTING  ON  PORCELAIN. 


139 


in  a manner  peculiar  to  the  exigences  of  this  style  of  work.  It 
should  be  commenced  with  a full  brush,  which  must  not  be 
lifted  from  the  plate  until  the  part  to  be  washed  has  been  entire- 
ly gone  over,  unless  it  is  absolutely  necessary  to  do  so  for  more 
color.  It  is  always  best  when  possible  to  start  with  all  the  color 
required.  In  washing,  the  brush — ^which  ought  to  be  a very 
soft  one — should  be  moved  regularly  and  steadily,  very  slightly 
raised  from  the  surface  or  scarcely  resting  its  own  weight  upon 
it,  in  a horizontal  direction,  and  serving  rather  to  guide  the  flow 
of  the  wash  than  to  be  the  instrument  for  laying  it  on. 

Never  go  back  with  the  brush  to  retouch  any  part  of  the  sur- 
face not  yet  dry,  as  it  will  “wash  up”  instantly!  As  there  is 
no  absorption,  it  will  in  general  be  found  necessary  to  make  the 
wash  considerably  above  the  tone  required  when  it  is  dry. 

In  treating  photographs  on  porcelain  it  is  quite  essential  that 
all  the  color  used  should  have  mixed  with  it  a very  little  pure 
Gum  Arabic,  to  give  it  adhesiveness  ; but  the  utmost  watchful- 
ness is  required  to  avoid  the  temptation  of  making  a too  free  use 
of  it.  Porcelain  painting  is  so  excessively  tedious  that  the  stu- 
dent's patience  is  likely  to  become  exhausted  ; but  so  sure  as  he 
endeavors  to  obtain  ‘ ‘ the  more  haste  ” by  the  over-use  of  Gum 
Arabic,  he  will  ultimately  find  it  ‘ ‘ the  less  speed,  ” as  his  work 
will  only  crack  and  peel  off.  Porcelains  persecute  patience  1 

What  has  been  said  above  concerning  the  use  of  gum,  is  to 
be  understood  as  applying  to  the  transparent  pigments,  partially 
to  those  which  are  semi-opaque — the  Yellow  and  Roman 
Ochres,  and  Lemon  Yellow — but  not  at  all  to  the  actual  body- 
colors  : Chinese  White,  Vermilion,  Orange  Chrome,  and  Eme- 
rald Green. 

In  hatching  and  stippling  let  this  be  a fixed  rule  : Never 

give  an  after -touch  until  the  previous  one  is  entirely  dry ; or  in 
other  words,  do  not  give  two  successive  brush-strokes  or  touches 
on  the  same  spot!  Where  additional  depth  and  strength  of  color 
is  required  it  must  be  obtained  by  successively  working  over  at 
different  times ; and  it  will  be  found  no  easy  matter  to  do  this 


140 


HOW  TO  PAINT  PHOTOGRAPHS. 


with  regularity  of  shade  and  evenness  of  surface.  If  this  can  be 
accomplished,  however,  it  will  surprise  the  student  to  discover 
what  a solidity  and  strength  can  be  attained,  after  all,  in  the 
porcelain  process  ; and  that  in  these  qualities  it  is  no  less  ad- 
mirable than  in  those  of  delicacy  and  beauty. 

While  engaged  in  the  work  of  painting,  the  hand  should 
never  be  permitted  to  rest  upon  the  plate,  as  it  will  impart 
grease,  and  interfere  more  with  the  adhesiveness  of  the  color 
than  is  the  case  on  paper.  If  no  rest-stick  is  used,  and  the 
hand  must  find  support  on  the  plate,  keep  a piece  of  soft  p'aper 
underneath  it. 

It  will  be  found  that  the  smooth  and  non-absorbent  surface 
requires  the  almost  constant  use  of  a rather  dry  brush,  and  not 
much  color  is  required  for  working  the  lighter  parts ; but  in 
the  heavier  parts  the  color  must  be  quite  thick,  yet  not  by  any 
means  so  thick  as  to  produce  a daubed  appearance. 

The  majority  of  porcelain  pictures  are  done  in  vignette  style. 
This  requires  considerable  attention  to  the  clouding  about  the 
head,  and  affords  a fine  opportunity  for  delicate  aerial  effects. 
After  the  cloud  wash  is  ’dry,  the  convoluted  edges  may  be 
beautifully  softened  by  gently  patting  them  with  the  end  of  the 
finger,  covered  with  a handkerchief  or  cloth,  and  very  slightly 
moist.  In  addition  to  this  blending,  semicircular  white  spots, 
like  openings,  should  be  taken  out  with  the  brush  ; and  if  done 
in  imitation  of  nature  these  simple  expedients  add  much  to  the 
general  result. 

If  the  picture  is  a copy  and  contains  any  of  the  usual  spots 
and  streaks,  they  can  be  stippled  out  with  Neutral  Tint.  Gold 
should  be  done  by  first  laying  a base  with  Roman  Ochre,  thick  ; 
then  add  high  lights  of  Indian  Yellow  and  Chinese  White.  All 
clear,  brilliant  ‘ ‘ touches " will  need  to  be  done  with  body- 
color. 


ADAPTABILITY  OF  SUBJECTS. 


I4I 


The  Correcting  of  Errors^ 

If  any  have  been  made  in  the  progress  of  the  work,  is  easily 
done  by  moistening  the  part  to  be  altered,  and  washing  off  the 
paint  with  clean  water.  This  is  a simple  though  a nice  opera- 
tion, and  must  be  done  so  as  not  to  damage  the  adjacent  parts. 
Indeed,  if  the  entire  progress  which  has  been  made  in  the  paint- 
ing does  not  please,  the  whole  may  be  washed  off;  but  this 
should  be  done  under  a flowing  stream  of  clean  water,  in  order 
that  none  of  the  color-matter  be  allowed  to  remain  elsewhere 
upon  the  plate  after  it  has  become  detached  from  the  picture 
itself,  as  it  would  leave  just  enough  of  a stain  to  soil  the  purity 
of  the  granulated  surface.  In  this  respect,  porcelain  even  offers 
an  advantage  over  paper — ^and  often  a very  important  one,  too — 
seeming  • almost  compensatory  for  the  extraordinary  degree  of 
time  and  patience  required  in  its  general  manipulation. 

Another  method  of  correcting  errors,  particularly  with  regard 
to  over-tone,  is  by  scratching  off  the  color  with  the  Eraser,  or  a 
smooth  bit  of  pumice-stone.  This  should  be  done  with  paral- 
lel strokes,  except  in  the  flesh,  where  the  pumice-stone  is  pre- 
ferred, and  should  be  used  with  a circular  motion.  This  expe- 
dient also  gives  a means  of  putting  higher  lights  where  they 
may  be  deficient  in  the  flesh — especially  the  principal  light  on 
the  forehead.  Parallel  scratch-lines,  at  an  angle  of  forty-five 
degrees  or  less,  can  be  used  to  give  atmospheric  effect  to  the 
clouding  about  a vignette  head. 

Adaptability  of  Subjects. 

With  regard  to  the  subjects  most  desirable  for  a painting  on 
porcelain,  the  student  will  discover  after  a little  practice,  that 
a child's  picture  (vignette  head)  is  the  most  pleasing  to  work 
upon  ; and  he  will  feel  justified  in  giving  it  the  benefit  of  all 
the  resources  of  the  porcelain  method.  He  will  naturally  and 
unconsciously  incline  toward  the  ideal  in  treating  these  inno- 


142 


HOW  TO  PAINT  PHOTOGRAPHS. 


cents  ; and  in  addition  to  a preservation  of  the  likeness  he  will 
also  strive  to  make  a beautiful  picture  ! 

Women’s  portraits  will  claim  his  preference  next  in  order, 
but  he  will  find  them  rather  less  inspiring  to  his  genius.  The 
necessary  use  of  a more  decided  style  of  working,  stronger  lines, 
and  the  introduction  of  so  much  drapery,  together  with  the  ac- 
cessories, which  require  abundant  patience,  will  doubtless  cause 
him  to  wish  that  he  was  working  on  paper. 

Last  of  all  and  least  of  all  should  be  his  ambition  to  delineate 
the  face  of  a man  in  a way  which  finds  no  parallel  in  nature  ! 
The  vigor,  strength,  character  and  breadth  with  which  he  would 
feign  depict  manhood^  are  not  attainable  by  this  process ; and 
the  inevitable  result  must  be  a beautiful  man  ! a wax-figure  ! a 
painting  which,  instead  of  ‘ ' holding  the  mirror  up  to  nature,  ” 
goes  immeasurably  and  absurdly  beyond  it ! 


Is  the  invention  of  Mr.  Wenderoth,  a distinguished  Philadel- 
phia artist.  Upon  the  introduction  of  the  porcelain  surface, 
however,  as  a basis  for  the  colorist’s  work,  the  days  of  the  once 
famous  Ivorytype  (it  may  be  said)  were  numbered ; it  being 
impossible  ever  to  achieve,  in  the  production  of  the  latter,  the 
brilliant  tone  and  delicacy  of  finish  incident  to,  and  inseparable 
from,  the  porcelain  picture.  The  ivorytype,  however,  has  the 
advantage  of  expedition  and  cheapness  in  its  manufacture. 

In  few  words,  the  Ivorytype  is  simply  a painted  photograph 
sealed  to  a clear  glass  plate  ; but  there  are  a number  of  points  in 
which  the  manipulation  of  the  picture  for  the  Ivorytype  differs 
from  that  of  the  ordinary  painted  photograph,  namely  : 

Special  Di/reetions. 

It  must  not  be  mounted  on  card-board,  but  stretched  tightly 
upon  the  drawing-board.  In  order  to  do  this,  the  photograph 
should  be  printed  on  a piece  of  paper  that  will  allow  sufficient 
margin  for  pasting  down — ^beyond  the  proposed  limits  of  the 
painting.  Moisten  the  entire  sheet  and  lay  it  flat  on  the  board, 
permitting  no  air-bubbles  to  remain  underneath.  Paste  down 
all  the  edges,  and  let  it  dry  slowly,  keeping  the  board  perfectly 
level.  As  the  contraction  of  the  paper  in  diying  will  cause  a 
very  hard  strain  on  the  pasted  edges,  it  may  be  advisable  to  have 
them  secured  by  tacks  or  weights. 

The  photograph,  thus  mounted  upon  the  drawing-board,  is 


144 


HOW  TO  PAINT  PHOTOGRAPHS. 


to  be  treated  with  special  attention  to  the  following  particulars, 
viz. : 

1.  The  painting  must  be  executed  with  more  than  ordinary- 
vigor  and  force,  so  as  to  provide  against  the  diminution  of  tone 
and  effect  which,  it  will  afterwards  be  seen,  occurs  on  ‘ ‘ sealing  ” 
it  to  the  glass. 

2.  No  body-color  should  be  used,  except  when  actually  nec- 
essary. In  laying  on  the  white,  for  laces  and  the  light  parts  of 
linen,  etc.,  do  it  very  lightly — perhaps  Flake  White  is  best. 

3.  Give  preference  to  the  transparent  colors ; for,  as  the  ob- 
ject of  the  wax  is  to  render  the  entire  picture  transparent,  it  is 
plain  that  opaque  colors  will  resist  its  effect,  and  seem  to  lie 
dead  and  hard  upon  the  picture. 

4.  In  working  certain  folds  of  the  drapery,  it  is  better  to  pre- 
serve the  lights  as  they  are  in  the  photograph  than  to  restore 
them  with  the  aid  of  body-color.  For  the  light  on  the  eyes, 
however,  and  a few  other  special  points,  Chinese  White  can  be 
used  with  propriety. 

5.  Do  not  use  a particle  of  Gum  Arabic,  because  it  will  pre- 
vent adhesion  to  the  glass  plate ; and  if  the  deep  lines  and 
shadows  are  painted  with  sufficient  strength,  its  ordinary  use  as 
a varnish  will  be  supplied  by  the  wax. 

When  the  painting  is  completed,  lay  the  glass  plate — which 
must  be  perfectly  clean  and  polished — upon  the  picture  ; and 
being  properly  adjusted  cut  out  the  painting  so  as  to  exactly  fit 
the  glass  (unless  there  be  reasons  for  doing  otherwise) ; but  it 
is  a great  advantage,  in  the  hurried  operation  of  sealing,  not  to 
be  obliged  to  adjust  the  picture  then — which  would  be  necessary 
if  it  were  larger  or  smaller  than  the  plate. 

Sealing  to  the  Glass. 

In  selecting  a glass  for  this  purpose,  French  plate  is  the  most 
desirable,  and  any  other  than  clear  white  glass  will  necessarily 
somewhat  mar  the  general  purity  of  the  work.  Ordinary  glass 


SEALING  TO  THE  GLASS. 


145 


having  a greenish  tint,  should  not  be  used,  if  possible  ; and 
equal  care  should  also  be  exercised  to  obtain  plates  entirely  free 
of  streaks,  bubbles,  or  scratches. 

The  composition-wax  used  in  sealing  is  variously  compound- 
ed by  different  artists;  but  a simple  mixture  of  one  part  of 
Gum  Copal  with  two  parts  of  pure  White  Wax  will  answer  for 
ordinary  purposes. 

The  operation  of  Sealing  can  be  done  thus  : 

Heat  the  glass  until  warm  enough  to  melt  the  wax  compound 
while  being  passed  over  it,  the  glass  being  kept  in  a horizontal 
position.  Let  every  part  of  the  plate  be  thoroughly  coated — as  it 
is  the  Gum  Copal  which  gives  lustre  to  the  finished  Ivorytype. 
While  it  is  still  warm  lay  on  the  picture,  face  to  the  glass,  in 
such  a manner  as  not  to  work  off  any  of  the  melted  composi- 
tion or  to  produce  wrinkles,  and  leave  no  air-bubbles  under- 
neath. The  back  of  the  painting  is  now  supposed  to  be  upper- 
most. Keeping  the  plate  still  warm,  rub  a piece  of  pure  White 
Wax  alone  slowly  over  the  back — melting  as  it  moves — and  then, 
with  the  straight-edge  of  a small  bit  of  card-board  held  almost 
perpendicularly,  smooth  the  picture  down  flat  upon  the  plate. 
In  doing  this,  rub  gently  from  the  centre  in  every  direction 
toward  the  margin — being  particular  to  push  out  the  very  last 
crease  or  air-bubble — but  do  not  press  the  card-board  hard 
enough  to  drive  out  all  the  composition  first  laid  over  the  plate, 
or  the  brilliancy  of  the  work  will  be  lost.  As  before  mentioned, 
the  Gum  Copal  imparts  the  brilliant  effect  while  the  wax  gives 
transparency. 

It  will  be  readily  seen  that  this  operation  must  be  done  with 
quickness  and  certainty  ; and  hence  it  is  best  to  have  everything 
fitted  and  prepared  before  the  process  of  sealing  is  commenced. 

The  painting  being  thus  attached  to  the  glass,  it  only  remains 
to  fit  a piece  of  pure  white  paper  (card-board  is  better)  to  the 
back — the  effect  of  which  is  seen  through  the  transparent  pic- 
ture— and  the  Ivorytype  is  completed.  Before  doing  this,  how- 

ever, it  is  well  to  consider  the  extent  to  which  the  colors  may 

7 


146 


HOW  TO  PAINT  PHOTOGRAPHS. 


have  depreciated  or  even  faded  out  in  the  act  of  sealing  ; and  if 
they  need  restoration  or  strength,  apply  some  additional  color, 
in  its  proper  place,  on  the  hack  of  the  sealed  painting.  This  is 
most  likely  to  occur  with  the  carnation-tints,  and  it  is -to  guard 
against  this  very  necessity  that  the  student  has  been  advised  to 
paint  more  than  ordinary  vigor  and  force.'" 

It  may  be  opportune  to  add  here  that,  beautiful  as  the  Ivory- 
type  is  when  first  finished,  it  becomes  liable  to  serious  discolor- 
ation. The  wax  composition,  no  matter  how  pure  the  ingredi- 
ents, will  in  time  produce  sufficient  yellowness  to  mar  its  original 
beauty.  Notwithstanding  this  deficiency,  however,  it  is  easy  to 
suppose  that  but  for  the  introduction  of  its  greatly  superior  rival 
— the  Porcelain — its  glory  would  doubtless  have  remained  un- 
diminished as  an  excellent  and  practicable  successor  to  its  proto- 
type, the  Ivory  Miniature  of  ‘ ‘ auld  lang  syne. " 


The  handling  of  the  large-sized  (solar)  photographs  is  a mat- 
ter of  progression.  If  we  can  safely  premise  that  the  student 
has  become  thoroughly  familiar  with  the  principles  involved  in, 
and  the  directions  given  for,  manipulating  smaller  and  medium- 
sized photographs,  our  observations  under  this  head  need  tend 
only  to  an  expansion  of  the  knowledge  he  already  possesses. 

The  important  characteristics  of  the  successful  solar  picture 
are  force,  breadth,  easy  handling,  and  a total  absence  of  timid- 
ity and  delicacy.  The  washes  must  be  done  broadly  and  with 
an  abundance  of  color,  and  the  lines  given  without  trepidation 
or  stiffness.  The  finished  pictures  should  indicate  on  the  part 
of  the  worker  a sufficiency  of  knowledge  and  a mastery  of  the 
brush. 

According  to  the  instinctive  laws  of  vision,  a picture  should  he 
viewed  at  a distance  equal  to  three  times  its  size.  Indeed  a more 
distant  point  may  be  agreeable  ; but  rarely  one  nearer,  except 
with  persons  of  defective  vision — and  even  then  the  eye  wanders 
over,  rather  than  embraces  the  whole.  Consequently,  it  is 
plain  that  the  entire  handling  should  be  executed  with  a clear- 
ness and  power  sufficient  to  realize  the  desired  effect  when  viewed 
at  the  proper  distance  I 

It  is  scarcely  to  be  expected  that  the  student  will  accomplish 
this  without  considerable  practice.  His  previous  work  has 
been  of  dimensions  which  could  be  inspected,  perhaps,  without 
rising  from  his  seat ; but  now  his  manipulation,  horribly  coarse 
at  the  drawing-board,  is  softened  by  the  prescribed  distant  view 


148 


HOW  TO  PAINT  PHOTOGRAPHS. 


— and  it  therefore  follows  that  only  by  constantly  taking  this 
view-point  can  he  watch  his  progress  and  attain  the  true  result. 

The  student  has  been  told  in  a foregoing  chapter  that  Hatch- 
ing is  the  most  desirable  and  effective  manipulation  for  large 
pictures,  and  he  will  therefore  adopt  it  for  solar  work.  The 
time  of  Stippling  has  gone  by,  except  for  some  few  necessary 
touches,  and  the  disposing  of  spots.  The  small-sized  brushes 
must  give  place  to  larger  ones,  color  must  be  prepared  and  used 
without  stint, — ‘‘laid  up  loose,” — and  a more  artistic  style  of 
action  adopted  throughout  the  whole  working. 

It  is  impossible  that  this  description  of  labor  can  be  per- 
formed with  ease  and  convenience  at  a desk  or  table.  The 
Easel  now  becomes  a necessity,  and  so,  too,  the  Rest-Stick. 
The  length  and  strength  of  the  hatch-lines,  which  the  student 
will  now  endeavor  to  draw  with  a graceful  sweep  of  the  brush, 
demand  a firm  support  for  the  hand  and  an  almost  vertical  posi- 
tion of  the  drawing-board.  The  dimensions  of  the  picture  also 
forbid  that  the  arm  should  be  constantly  wiping  over  its  surface, 
which  would  be  the  case  if  lying  nearly  flat ; and  the  facility 
with  which  it  can  be  raised  or  lowered  so  as  to  bring  the  work- 
ing-spot right  to  the  hand,  clearly  demonstrate  the  expediency 
of  using  the  Easel  now,  if  never  before.  Especially  so,  if  the 
background  is  to  be  done  in  pastel,  which  would  be  marred  by 
the  very  slightest  touch — and  this  too  makes  the  Rest-Stick 
indispensable. 

If  the  solar  at  hand  is  to  be  done  in  (the  so-called)  “India- 
Ink  ” style,  the  student  must  not  forget  what  has  been  already 
said  concerning  the  inefficiency  of  the  India-Ink  itself  for  large 
work,  and  the  usefulness  of  Lampblack.  The  Compound 
Black,  when  mixed  to  a deep  tone,  is  also  quite  available  for 
solar  prints  and  very  important  in  finishing  the  drapery.  In- 
digo added  to  Lampblack  gives  a depth  sufficient  for  any  shad- 
ow the  drapery  can  possibly  require. 


% Jittery* 

The  framing  of  the  picture  can  scarcely  be  regarded  as  a mat- 
ter of  taste  only. 

Though  not  strictly  correct,  the  theory  of  photographic  paint- 
ing is,  that  the  work  has  been  done  upon  a white  ground,  as  is 
the  case  in  the  true  school  of  water-colors,  where  the  transpar- 
ent pigments  so  modify  the  light,  falling  upon  and  being  re- 
flected from  that  white  surface,  as  to  produce  the  effect  which 
constitutes  the  picture.  Hence,  some  indication  of  the  presence 
of  the  supposed  white  ground  must  be  given,  and  for  this  reason 
the  margins  are  almost  invariably  white. 

In  vignette  pictures  there  is  nearly  always  sufficient  white  mar- 
gin to  answer  this  purpose,  and  a tinted  mat  can  therefore  be 
used  ; but  if  there  is  not,  or  when  the  background  is  of  a solid 
color,  a white-edged  Roman  mat  becomes  indispensable.  The 
tint  of  the  mat  should  always  be  harmonious  with  the  general 
tone  of  the  painting,  or  entirely  neutral ; and  even  then  it  ought 
to  have  an  inside  edge  of  white.  The  use  of  tinted  mats  re- 
quires judgment  to  make  a proper  selection,  but  the  white  ones 
are  ‘^always  in  order.’' 

India-Ink  Work,  which  is  intended  to  imitate  the  effect  of  an 
engraving,  must  never  be  margined  by  anything  else  than  white 
— except  for  vignettes,  when  a gold  (bevelled)  edge  looks  best. 
The  juxtaposition  of  a colored  mat  (especially  if  the  hue  be 
rather  intense)  is  sure  to  damage  its  purity  in  many  ways,  re- 
flecting improper  tints  upon  its  high  lights,  and  giving  a sooty 
appearance  in  the  heavy  shadows. 


150  HOW  TO  PAINT  PHOTOGRAPHS. 

Colored  pictures  should  always  have  a gilt  frame ; if  ample 
white  margin  surrounds  the  painting,  it  will  be  seen  that  the 
white  purifies  the  colors  and  the  gilt  purifies  the  white  ! In  general, 
the  frames  should  not  be  heavy,  nor  too  profusely  ornamented. 
A massive  frame  will  almost  destroy  the  effect  of  delicate  work 
in  water  colors.  Neither  should  the  frame  contain  too  many 
burnished  points,  which  catch  the  eye  and  thus  interfere  with 
the  vivacity  and  force  of  the  colors.  For  all  delicate  work,  and 
light  in  tone,  a simple  gold-bead  frame,  and  mat  having  a gold 
edge  next  to  the  picture,  is  very  suitable.  But  more  powerfully 
and  intensely  wrought  water-color  paintings,  especially  if  warm 
in  tone,  may  even  be  rendered  more  effective  and  harmonious 
by  substituting  an  entire  gold  mounting. 

Colored  porcelains — especially  vignettes — are  greatly  enrich- 
ed by  the  addition  of  a line  of  velvet  coming  between  the 
white  surface  and  the  gilt  frame.  The  color  should  be  deep 
and  rich ; and  the  opaque,  dull  texture  of  the  velvet,  whilst  it 
gives  wonderful  purity  to  the  white  of  the  porcelain,  also  har- 
monizes splendidly  with  the  gold  (gilt)  of  the  frame.  Porce- 
lains require  and  can  bear  the  veiy  richest  setting  ; reverse  this, 
and  use  something  like  a dull  walnut  frame,  and  the  result  will 
be  a pictorial  death  ! 

In  framing  Ivorytypes,  no  white  of  any  kind  must  be  placed 
in  contact  with  the  finished  work,  as  it  would  ^ ‘ kill  the  so- 
called  whites  in  the  picture,  and,  by  a prejudicial  contrast, 
lower  their  tone  into  a degree  of  comparative — pro- 
duced by  the  wax  compound.  Ivorytypes  should  always  have 
a rich  gilt  frame,  the  sight-opening  of  which  will  exactly  cut  the 
picture. 

In  all  cases  the  artist  should  be  allowed  to  select  or  advise 
the  choice  of  the  frame  ; or  should  be  informed  beforehand — ■ 
in  case  the  frame  has  been  selected — in  order  that  he  may 
paint  with  a view  to  the  influence  of  the  frame,  especially  if  the 
picture  in  hand  is  to  be  a companion-piece  to  another. 

The  glass  of  the  frame  must  never  be  allowed  to  touch  the 


FRAMING  THE  PICTURES. 


I5I 

surface  of  the  painting,  but  be  kept  away  by  an  intervening 
mat,  or  otherwise.  Finished  work  should  not  be  hung  where 
it  will  be  exposed  to  extreme  heat  or  cold,  subject  to  dampness, 
or  to  foul  air,  because  they  are  liable  to  deterioration  from 
these  causes,  if  not  to  ultimate  ruin. 

As  the  beauty  and  value  of  the  jewel  is  enhanced  by  the 
setting  it  receives,  so  is  the  character  of  a picture  improved  or 
degraded  by  the  manner  in  which  it  is  framed  ! In  violation  of 
the  principles  upon  which  good  framing  is  based — and  which 
can  be  so  easily  understood  and  practiced — it  is  to  be  regretted 
that  the  educated  eye  is  so  often  pained  by  evidences  of  the 
most  deplorable  ignorance  among  those  who  should  study  to 
know  better. 


Leaving  to  the  student  the  instructions  contained  in  the  fore- 
going pages,  we  desire  to  remind  him  of  the  necessity  of  con- 
stant practice^  and  the  advantage  to  be  derived  from  the  examina- 
tion and  study  of  good  examples.  Be  not  discouraged  by  the 
difficulties  which  may  appear  to  loom  up  between  the  beginner 
and  the  expert  painter ; the  process  of  coloring  photographs  is 
by  no  means  so  difficult  as  might  be  at  first  supposed. 

Commence  upon  unobjectionable  photographs,  so  that  there 
be  no  deficiencies  in  them  to  increase  whatever  difficulties  may 
attend  your  first  efforts. 

Endeavor  to  comprehend  your  work,  examining  first  among 
the  lights,  to  see  which  are  those  that  possess  the  highest  de- 
gree of  brightness ; and  so  also  among  the  shadows,  which  are 
those  that  are  darker  than  the  others,  and  in  what  manner  both 
mingle  together — ^remembering  that  these  lights  and  shades 
must  be  finally  joined  without  hard  lines  of  definition,  and  as 
nearly  as  possible  with  artistic  effect. 

Do  not  in  the  beginning  attempt  the  execution  of  pictures 
too  large  or  complicate ; and,  as  this  book  covers  the  whole 
range  of  practical  work,  save  time  by  seeking  its  instructions 
constantly,  rather  than  venture  upon  experiments  of  your  own. 
Remember  that  the  foregoing  contents,  prepared  for  your  guid- 
ance, cost  other  persons  years  of  labor  and  study,  and  that,  in 
all  probability,  they  are  fully  competent  to  assist  the  inquiring 
student  in  every  situation. 

To  such  as  have  studied  this  little  volume  with  a conscienti- 


CONCLUSION. 


153 


ous  desire  to  accomplish  in  themselves  the  purpose  for  which  it 
was  written,  the  following  important  recommendations  are  sub- 
mitted for  their  guidance  ; 

First. — Systematic  Working  will  accomplish  much  in  the 
end,  although,  as  the  student  has  already  learned,  the  various 
qualities  of  tone  in  the  photograph  will  not  always  permit  the 
adaptation  of  the  same  methods.  But  he  can  devise  his  plans 
for  ready  applications  to  light  or  dark  prints  respectively,  and 
thus  know  immediately  just  what  to  do. 

Second. — Careful  Handling  will  economize  time  and  labor, 
obviate  the  necessity  for  alterations  or  corrections,  preserve  the 
purity  and  beauty  of  the  colors,  and  give  character  to  the  work. 
The  very  soul  of  water-color  painting  is  to  know  what  to  do, 
and  then  to  do  it  at  once  ! The  possession  or  the  want  of  this 
quality  will  be  easily  perceptible,  to  a discerning  eye,  in  every 
man’s  work.  Different  from  oil  painting,  water-color  allows 
no  experimenting,  no  patching,  no  corrections  of  any  im- 
portance. 

Third. — Determination  to  surmount  all  difficulties,  if  it  can 
be  done  by  study  and  practice.  Strive  to  combat  disappoint- 
ment, if  such  a feeling  attend  your  earlier  efforts.  Tiy^  to  ob- 
tain new  ideas  from  the  more  perfect  works  of  others  who  are 
recognized  as  proficients,  and  let  every  picture  of  your  own 
contain  points  which  indicate  an  advance  of  your  efforts  at  least 
one  step  farther. 

Finally. — Practice,  based  upon  the  directions  given,  must 
result  in  enabling  the  student  to  soon  familiarize  himself  with 
the  exigencies  that  are  incident  to  photographic  painting,  and 
render  the  work  easier ; but  ultimate  success  will  depend  upon 
the  individual — his  natural  capacities,  enthusiasm  for  his  art, 
and  a careful  resolve  to  achieve  the  victory  ! 


PAET  II, 


in  Sqa^on. 

BY  J.  AUG.  BECK,  HARRISBURG,  PA. 

The  application  of  crayon  to  a photograph  is  not  necessarily 
a difficult  operation.  It,  of  course,  presupposes  some  knowl- 
edge of  the  art  of  drawing,  especially  so  far  as  discrimination 
and  judgment  are  requisite  to  comprehend  the  work  and  di- 
rect the  student  in  the  development  of  lights  and  shadows. 

There  are  no  perplexities  of  color,  however,  and  the  materials 
— whose  uses  and  characteristics  the  student  is  to  understand 
and  control — ^are  few.  A piece  of  Chamois  Skin,  about  three 


Note. — To  those  unacquainted  with  this  meritorious  artist  and 
estimable  gentleman,  I desire  to  say  that,  having  known  him  intimately 
for  many  years  as  an  adept  in  Crayon,  Water  Colors,  and  Oil  Painting 
— and  being  thus  able  to  commend  his  great  abilities — I regard  it  as  a 
distinguished  honor  to  be  favored  with  this  chapter.  With  the  modesty 
of  true  genius,  Mr.  B.  sends  these  simple  jottings  of  his  crayon  method, 
requesting  me  to  give  them  some  literary  dressing ; but  I prefer  to  leave 
the  gold  in  its  original  condition — because  it  will  harmonize  all  the  bet- 
ter with  the  simplicity  of  expression  which  I have  endeavored  to  main- 
tain in  the  previous  chapters. — G.  B.  A. 


WORKING  IN  CRAYON. 


155 


Stumps  (made  of  the  same  material)  a few  sticks  of  Conte 
Crayon  and  Lithographic  Chalk,  will  comprise  the  necessary 
outfit. 

The  stumps  should  be  firm  and  soft,  without  being  pliable, 
and  of  three  different  sizes.  The  smallest  should  be  trimmed 
to  as  fine  a point  as  practicable,  and  the  other  two  cut  off 
square,  and  then  shaved  down  flatly  on  opposite  sides,  leaving 
a blunt  edge  resembling  that  of  a chisel.  The  former  is  in- 
tended for  drawing  lines,  and  the  two  latter  for  laying  the  pow- 
dered crayon,  and  must  be  handled  like  a flat  brush.  The 
finest  lines  are  to  be  done  with  a pointed  crayon. 

The  paper  should  be  neither  too  smooth  nor  too  rough  ; 
and  in  making  the  print  the  photographer  can  tint  it,  when  so 
desired,  to  a neutral  gray,  outside  of  the  head. 

In  general,  it  is  best  to  lay  a thin  wash  of  Lampblack  over 
the  background,  hair,  and  drapery — to  give  the  surface  addi- 
tional ''tooth,''  in  like  manner  as  directed  for  Pastel.  After 
this  wash  is  thoroughly  dry,  scrape  (pulverize)  some  of  the 
softest  crayon,  charge  a stump  that  has  been  cut  down  flat,  and 
begin  to  strengthen  the  masses  of  the  hair,  shadows  of  the  face, 
etc.  Then  with  a more  pointed  and  firm  stump  bring  out  the 
iris  and  pupil  of  the  eye,  the  eyebrows,  nostrils,  and  lines 
about  the  mouth.  Let  the  hair  be  kept  in  masses,  and  not 
worked  at  first  too  much  in  lines. 

In  developing  the  half-shades,  avoid  blackness  and  dirtiness. 
Beginners  invariably  ' ' catch  " these  defects  of  manipulation,  as 
the  crayon  is  apt  to  look  like  a dirty  brown  by  contrast  with  the 
blue-gray  tones  of  the  photograph. 

For  the  purposes  of  erasing,  when  necessary,  use  bread  that 
is  not  too  fresh  ; India-rubber  will  answer,  too,  for  the  finer  and 
weaker  erasures,  as  it  can  be  cut  to  a point. 

Let  every  touch  be  put  on  with  decision  and  cleanliness ; let 
there  be  no  teasing  (so  to  speak),  for  every  moment  spent  in 
tampering  with  the  touches  already  put,  the  greater  the  loss  of 
crispness  and  clearness.  Certainty  of  handling  comes  only  with 


156 


HOW  TO  PAINT  PHOTOGRAPHS. 


certainty  of  knowledge,  and  the  student  should  strive  for  that! 
The  appearance  of  dexterity  is  very  charming  in  all  art,  but  only 
close  application  and  practice  will  give  it. 

If  the  picture  in  hand  is  to  have  a dark  background,  there 
are  various  ways  of  treating  it.  If  there  are  no  antagonizing  de- 
fects upon  the  plain  ground,  it  can  be  dappled  with  the  blunt 
end  of  a stump  ; and  the  result,  by  force  of  contrast,  will  cause 
the  face  to  appear  much  finer  than  it  really  is.  Or,  it  may  be, 
it  can  be  covered  with  gray  school-chalk  or  gray  pastel,  into 
which  pure  black  should  be  introduced  at  the  lower  parts,  to 
represent  the  cast  shadow  from  the  head.  The  light  side  of  the 
face  should  be  relieved  against  the  dark  side  of  the  ground,  and 
the  dark  side  against  the  light  side. 

Now  take  a flat  piece  of  gray  chalk  and  cross-hatch  diagonal- 
ly into  it,  and  ‘ ‘ leave  ” the  roughness  which  it  produces,  as  it 
looks  better  rough  than  too  smooth.  Use  flat  black  crayon  to 
cross-hatch  in  the  lower  corners. 

If  it  is  a vignette,  much  depends  upon  the  shaping  of  the 
whole,  especially  the  outer  clouding,  which  should  present  an 
aerial  appearance,  and  yet  dark  enough  to  give  relief  to  the 
head.  So  also  the  lower  part  of  the  bust  should  vanish  off  im- 
perceptibly and  with  softness. 

Concerning  the  drapery  : let  the  folds  be  strengthened ; give 
intensity  to  the  dark  parts,  and  if  the  bust  extends  to  the  bottom 
of  the  picture — and  the  background  is  dark — let  the  lower  part 
of  the  bust  be  correspondingly  darker,  as  the  greater  light  should 
be  concentrated  about  the  head.  In  regard  to  lights  upon 
drapery,  the  writer  finds  it  best  to  ‘ ^ recall  them  with  gray 
chalk,  which  can  be  blended  into  the  blacks  with  the  finger,  as 
in  pastel  work,  or  by  the  use  of  a cork  stump. 

After  all  the  parts  are  satisfactory,  and  the  likeness  is  com- 
plete and  perfect,  the  face  and  background  should  be  gone  over 
with  the  Lithographic  Crayon.  This  can  be  brought  to  the 
requisite  point  by  holding  it  over  a gas-flame,  or  any  other  con- 
venient heat.  This  kind  of  chalk  is  preferable  for  various  rea- 


WORKING  IN  CRAYON. 


157 


sons  : By  dragging  it  over  the  paper  it  catches  upon  its  rough 

protuberances,  and  nowhere  else.  This  is  best  done  with  a 
circular  motion,  which  prevents  streaks  and  too  much  black- 
ness ; but  remember,  this  is  the  last  thing  to  be  done  — the 
coup  de  grace — as  it  will  not  be  possible  to  make  any  further 
corrections  after  it  is  once  on.  It  is  of  a greasy  nature 
(there  being  wax  and  tallow  in  its  composition),  and  for  this 
reason  the  portrait  should  be  completed  before  this  last  work  is 
added. 

The  first  inch  or  two  put  upon  the  face  is  most  likely  to 
disgust  the  performer ; but  after  all  is  gone  over  (except  the 
highest  lights),  the  background  also,  and  the  drapery  is  cross- 
hatched  with  the  pointed  crayon,  it  will  look  beautiful.  The 
granular  surface  which  this  gives  is  indicative  of  texture,  and 
avoids  too  much  polish  and  smoothness.  All  the  outlines  are 
softened  by  this  process,  if  it  has  not  been  attended  to  at  first 
with  the  stump,  which  should  have  been  done.  Take  care  that 
none  of  the  likeness  is  lost  while  dragging ; and  the  student  will 
find  that  the  spotty  copies  enlarged  from  small  card  photographs 
are  best  made  even  and  smooth  by  this  dragging  of  the  Litho- 
graphic Chalk. 

The  prints  should  be  mounted  upon  stretchers,  as  they  are 
not  so  liable  to  have  ridges,  and  are  also  tightened  out  flat  and 
firm.  A light  print  is  best  to  work  upon,  as  a dark  one  some- 
times ends  with  too  much  blackness  and  heaviness. 

Charcoal  is  not  often  used  upon  a photograph.  It  is  gener- 
ally used  upon  paper  which  is  prepared  expressly  for  that  pur- 
pose, and  which  is  susceptible  of  ‘ ‘ fixing  ” the  drawing  when 
finished. 

As  to  ‘ ‘ fixing  ” a photograph  in  crayon,  this  can  be  done  in 
various  ways,  either  by  immersion  in  a diluted  bath  of  white 
glue  or  Gum  Arabic  water,  or  by  projecting  upon  it  a spray  of 
some  kind  ; but  much  of  the  beautiful,  velvety  surface  and 
bloom,  and  the  decisive  touch  is  destroyed  in  so  doing — and  the 
loss  of  distinctness  is  apt  to  cause  disappointment. 


158 


HOW  TO  PAINT  PHOTOGRAPHS. 


Most  solar  prints  are  not  jit  to  hang  up  without  retouch- 
ing ; and,  after  all,  nothing  can  supercede  crayon  for  this  pur- 
pose. 

Erasers  should  be  used  to  remove  any  spots,  wrinkles,  or 
other  markings  that  may  be  too  dark  or  obtrusive. 

Let  the  first  work  be  softly  done.  Let  all  lines  be  softened 
by  the  stump  and  toned  down.  As  the  portrait  painter  in  oil 
trys  to  get  softness  in  his  ' ‘ first  painting, so  also  the  crayonist 
should  try  for  softness  in  his  under-work,  for  upon  this  the  more 
vigorous,  dexterous  handling,  or  the  ‘ ‘ drag,  will  look  the 
better. 

The  hair  may  have  some  lines  drawn  upon  it  with  the  pointed 
Conte  crayon,  but  must  not  appear  too  wiry  or  hard,  and 
must  not  run  parallel,  as  though  a comb  had  been  drawn 
through  it. 

Pure  White  Chalk  should  be  used  last,  to  put  on  the  concen- 
trated lights  in  the  eyes,  the  highest  lights  upon  the  forehead, 
cheek-bones  and  chin,  as  well  as  the  shirt-bosom  or  collar. 
The  writer  finds  the  fractured  corner  of  white  crayon  best  for 
this  purpose  ; and  it  should  be  put  on  at  once  and  with  cer- 
tainty, allowing  some  of  the  chalk  to  protrude,  so  as  to  catch 
the  light.  [Nothing  represents  the  dash  of  the  diamond  so 
well  as  this.]  Some  use  liquid  Chinese  White,  applied  wet, 
and  with  a pointed  brush  ; but  it  must  be  used  very  thickly,  or 
the  effect  will  not  be  fine.  The  half-tones  should  be  rubbed 
into  the  white  linen  during  the  first  stages  of  the  work,  and  the 
highest  lights  added  last  of  all. 

The  likeness  is  the  first  desideratum  ; then  purity,  and  facility 
of  handling  upon  a soft  under-rubbing  with  the  Chamois  ; and 
lastly,  the  correct  shaping  of  the  whole,  so  that  the  general  effect 
shall  be  all  right  at  ten  or  fifteen  feet  from  the  picture.  Much 
depends  upon  this,  for  if  it  is  heavier  on  one  side  than  on  the 
other,  or  triangular  in  shape,  or  too  straight  across  the  lower 
part  of  a vignette,  it  looks  abominable. 

Cross-hatching  should  be  done  diagonally,  and  not  at  right 


WORKING  IN  CRAYON. 


159 


angles  ; neither  should  the  lines  run  too  perpendicularly.  Do 
not  fear  roughness  in  the  background ! 

Should  it  be  desirable  to  put  any  loose,  single  hairs  in  a 
flaxen  or  gray  head,  or  upon  a beard,  these  can  be  recalled  or 
rubbed  out  with  a sharp  corner  of  the  gum  eraser.  'So  also  there 
should  be  some  darker  projections  outside  of  the  mass  of  the 
hair,  at  the  sides  of  the  head,  or  beard,  so  as  to  avoid  a stiff 
formality  and  give  freedom  to  the  whole.  They  must  be  grace- 
fully done,  however,  and  the  student  should  remember  the 
Hogarth  “line  of  beauty, which  was  serpentine. 

Avoid  using  too  much  White  Chalk,  as  it  must  be  reserved 
for  the  high  lights  only ; if  it  becomes  mixed  up  with  the  black 
crayon,  it  is  apt  to  produce  a leaden  color,  attracting  the  eye  at 
once,  because  it  is  “ out  of  harmony ''  with  all  the  rest ! 

The  drapery  should  be  darkest  in  the  vicinity  of  the  head 
when  making  a vignette  on  a white  ground.  When  cross- 
hatching  upon  the  draperies  or  the  face, — if  the  student  should 
prefer  doing  it  in  that  way, — he  must  attend  to  placing  the  lines 
so  that  they  wall  follow  the  muscles  of  the  face,  or  the  folds  of 
the  coat,  etc.  This  direction  of  lines  adds  much  to  the  illusion 
of  roundness  and  form,  and  aids  the  modelling.  This  method 
is  perfectly  legitimate,  and  if  it  is  clear  and  clean,  and  neatly 
done,  no  one  will  question  the  propriety  of  doing  it.  The  lines 
must  run  parallel  and  all  in  the  same  direction,  as  much  as 
possible  ; but  avoid  having  any  darks  near  the  shoulders  or  the 
lower  part  of  a vignette  head.  Guard  against  too  much  black- 
ness in  the  shadows  of  the  face — under  the  eyebrows,  chin, 
nose,  and  the  side  of  the  face ; always  remembering  that  the 
darkest  shades  have  also  reflected  light  in  them. 

In  adding  a finale  to  the  random^  thoughts  above  written,  let 
me  recommend  the  student  to  idealize  his  crayon  picture,  as 
7iiuch  as  the  subject  in  hand  will  afford  him  opportunity  to  do 
so.  Make  them,  if  possible,  to  look  different  fro7n  a photograph, 
and  to  suggest  a drawing  from  life  ! The  stiffness  and  rigidity 
of  the  statue-like  photograph — although  giving  a realism  which 


i6o 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  world’s  greatest  masters  could  not  have  rivalled — does  not 
always  afford  a pleasing  picture.  And  as  the  large  size  of  crayon 
work  necessarily  supercedes  the  detail  incident  to  the  smaller 
photographic  pictures,  a field  is  presented  for  amplification  of 
the  student’s  faculties  such  as  he  should  take  advantage  of,  and 
such  as  I have  endeavored  herewith  to  make  easy  for  him  to 
enter  upon  and  possess. 


PAET  III. 



Pninling  in  ®H  ®ofor$. 

Introductory. 

The  coloring  of  a photographic  portrait,  whether  accomplish- 
ed in  Wa/er  or  Oil  colors,  must  necessarily  be  based  upon  the 
same  principles,  and  be  subject  to  the  same  general  laws  of  col- 
or, light,  and  shadow.  The  difference  between  the  two  pro- 
cesses lies  chiefly  in  the  materials  used,  and  in  their  special  ma- 
nipulation— the  result  being  essentially  the  same. 

To  those  who  have  practiced  in  Water  Colors  it  may  not  be 
inopportune  to  remind  them  that  in  Oil  there  is  no  washing 
of  local  color,  and  no  subsequent  “hatching’’  or  “stippling.” 


Note. — This  chapter,  although  based  upon  the  plan  of  instructions 
given  by  the  distinguished  artist  J.  G.  Chapman,  in  his  American  Draw- 
ing  has  been  arranged  and  written  with  special  applicability  to 

PHOTOGRAPHIC  painting ; with  additions,  and  careful  revision  by  other 
practical  artists. 


i62 


HOW  TO  PAINT  PHOTOGRAPHS 


The  application  of  the  pigment — which  keeps  ever  ready  for 
working — requires  but  one  motion,  generally  toward  the  work- 
er, and  familiar  to  all.  In  Water  Colors  the  successful  opera- 
tion frequently  depends  on  the  quickness  with  which  it  is  done, 
as  in  washing  ; or  the  regularity,  as  in  hatching  ; or  the  cleanli- 
ness, as  in  the  proper  succession  of  overlaying  tints.  But  in 
Oil  the  process  allows  deliberation,  as  the  color  is  slow  to  dry ; 
the  correction  of  errors,  because  the  color  is  generally  opaque  ; 
and  many  advantages  which  the  water-colorist  is  compelled  to 
do  without.  Indeed  it  will  be  found  that,  instead  of  drying  al- 
most immediately,  some  of  the  oil  pigments  are  to  be  condemned 
for  their  obstinacy  as  had  driers  ! Owing  to  this  necessity  of 
allowing  time  for  the  color  to  dry,  the  student  should  remember 
that  it  is  not  well  to  press  his  work  on  one  picture  too  far  at  a 
single  painting,  but  rather  have  two  or  three  pieces  on  hand,  for 
a change. 

In  Water  Color  painting,  it  is  to  be  remembered,  that  the 
light  resides  in  the  white  paper  itself,  and  the  colors  derive  their 
effect  from  the  manner  in  which  they  are  projected  upon  it — 
whether  thin  or  thick,  transparent  or  opaque ; but  in  Oil  the 
tint  of  the  surface  to  be  painted  upon  does  not  in  the  least  af- 
fect or  control  the  working,  inasmuch  as  the  light  is  to  be  found 
in,  or  produced  by,  the  use  of  white  paint ; which  must  conse- 
quently be  mixed  with  all  hues  in  proportion  as  they  approach 
light,  and  conversely  as  they  approach  dark. 

In  undertaking,  therefore,  our , instructions  how  to  paint 
photographs  ” in  Oil,  we  shall  only  furnish  the  practical  directions  ; 
because  it  is  taken  for  granted — indeed,  positively  assumed — 
that  the  student  has  already  studied  and  familiarized  himself 
with  the  general  principles  involved  in  the  various  topics  under 
the  treatment  of  Water  Colors.  The  same  distinctions  of  hue, 
as  appertaining  to  the  hair,  eyes,  complexion,  drapery,  etc., 
must  be  preserved,  although  they  are  obtained  by  a different 
process  of  manipulation,  and  sometimes  by  entirely  different 
pigments. 


IN  OIL  COLORS. 


163 


The  Photograph 

Should  be  printed  on  what  is  called  plain’'  and  not  upon 
albumenized  paper.  The  former  has  a “tooth’'  for  holding 
the  color,  and  in  this  respect  is  somewhat  like  fine  canvas  \ 
while  the  albumenized  paper  is  not  only  objectionable  from  its 
being  entirely  too  smooth,  but  the  picture  cannot  be  regarded 
as  durable,  since  it  is  on  the  albumen  only,  and  not  on  the 
actual  surface  of  the  paper  itself  The  print  should  possess  a 
medium  tone  of  blackness,  and  must  be  mounted  upon  a very 
stout  quality  of  card-board — much  heavier  than  for  water  color- 
ing— but  a 7nuslin  stretcher  is  the  best.  No  work  can  be  done 
on  the  mounted  print  until  it  is  entirely  dry  ! 

The  thickness  and  opacity  of  the  oil  colors  makes  the 
Guide-Print  a positive  necessity.  Without  this,  it  will  be  impos- 
sible to  preserve  the  likeness — unless  it  be  a copy,  in  which 
case  the  original  is  always  the  best  guide. 

The  First  Application 

Upon  the  photograph  will  be  a Sizing  of  milliner’s  (white)  glue, 
dissolved  in  warm  water,  and  applied  while  warm.  It  should 
be  of  sufficient  strength  to  prevent  the  oil  from  sinking  into  the 
paper,  but  not  so  thick  as  to  render  it  likely  to  crack  and  peel 
off.  It  should  be  tested  upon  a corner  of  the  print,  and  if  the 
oil  is  quickly  absorbed,  another  application  of  the  Sizing,  or  a 
preliminary  wash  of  oil,  will  become  necessary.  The  surface 
should  at  any  rate  be  rendered  non-ahsorhent  to  the  oil  contained 
in  the  pigments,  so  that  they  shall  not  depreciate  in  freshness 
and  strength  by  drying. 

Figments  and  Vehicles^ 

Necessary  for  photographic  painting  in  Oil  are  variously  chosen, 
according  to  preference,  and  may  be  selected  from  the  follow- 
ing list  : • 


164 


HOW  TO  PAINT  PHOTOGRAPHS 


Silver  White, 
Naples  Yellow, 
Yellow  Ochre, 
Venetian  Red, 
Chinese  Vermilion, 
Raw  Sienna, 

Burnt  Sienna, 

Raw  Umber, 

Burnt  Umber, 


Light  Red, 

Blue  Black, 

Rose  Madder, 
Cobalt, 

Permanent  Blue. 
Vandyke  Brown, 
Brown  Madder, 
Roman  Ochre, 


Out  of  the  foregoing  color-list  the  first  twelve  will  perhaps  be 
found  best  adapted  in  painting  a head,  and  may  be  considered 
quite  sufficient  to  commence  with ; and  though  their  number 
can  be  increased  from  the  remainder,  as  the  student  advances, 
it  is  not  unlikely  he  will  return  with  confidence  to  the  simplicity 
of  his  first  choice. 

In  the  selection  of  his  colors  the  student  is  reminded  that  the 
strength  of  his  palette  should  not  lie  in  the  variety  of  his  colors, 
but  rather  in  the  judgment  exercised  in  their  choice,  and  discre- 
tion in  using  them.  The  best  of  painters  have  set  the  example 
of  using  comparatively  few  colors.  To  a beginner,  the  fewer 
his  colors  the  more  easily  the  combinations  are  remembered. 

Concerning  their  qualities  and  adaptations,  we  may  remark 
as  follows  : 

White  will  always  be  found  to  occupy  the  most  prominent 
position.  As  has  already  been  noted,  it  is  the  light  of  the  pal- 
ette. It  is  therefore  placed  at  its  head,  because  it  is  required 
in  a larger  quantity  than  any  of  the  others,  and  is  more  acces- 
sible during  the  work.  Among  the  various  preparations  to  be 
had.  Silver  White  is  most  generally  used,  being  in  favor  with 
artists  everywhere. 

Naples  Yellow  varies  both  in  intensity  and  delicacy.  The 
paler  tint  is  considered  best  adapted  for  the  flesh  ; that  which 
has  a lemon  hue  should  be  reserved  for  other  parts,  and  for 
landscape.  As  there  are  imitations  of  this  pigment  sold,  care 


IN  OIL  COLORS. 


165 

should  be  used  to  procure  it  oi genuine  manufacture.  Its  pecu- 
liar chemical  properties  also  require  that  it  should  not  be  com- 
bined with  other  colors  imperfectly  prepared  from  iron  ; and  in 
mixing  it  upon  the  palette  an  ivory  or  horn  spatula  should  be 
used,  instead  of  a steel  one. 

Yellow  Ochre  combines  in  flesh  tints  in  a most  delightful 
and  manageable  way,  and  being  of  a permanent  and  reliable 
character,  may  be  regarded  as  invaluable.  It  is  a favorite  color 
with  all  painters,  and  is  to  be  had  in  many  varieties  of  shade, 
such  as  Roman  Ochre,  Golden  Ochre,  etc. 

Venetian  Red  is  a standard  pigment  for  the  flesh,  as  it  forms 
a carnation  applicable  under  almost  all  circumstances. 

Vermilion  is  a dangerous  color  for  beginners  to  handle,  as  it 
requires  much  tempering  and  reducing  to  bring  it  into  har- 
mony, especially  in  delicate  flesh  tints  ; still  it  is  very  important 
and  valuable  in  heightening  the  brilliancy  of  the  carnations. 
Until  the  student  attains,  by  practice,  capacity  for  its  judicious 
management,  it  should  be  used  with  caution,  and  sparingly. 
Of  the  various  manufactures — Chinese,  English,  French,  and 
Dutch — we  recommend  the  Chinese  or  the  English. 

Raw  Sienna,  in  point  of  general  utility,  takes  rank  with  Yel- 
low Ochre ; it  is  found  of  various  shades  and  degrees  of  in- 
tensity ; and  if  used  at  all  in  flesh,  must  be  done  carefully. 

Burnt  Sienna  is  a pigment  of  very  great  value,  and  in  point 
of  general  service  occupies  the  next  place  to  White.  When  it 
is  had  of  good  quality  it  can  be  made  to  supply  the  place  of  the 
warmer  Lakes,  whose  doubtful  character  for  permanency  ren- 
ders their  use  always  questionable  and  suspicious. 

Raw  and  Burnt  Umber  are  both  favorites,  and  both  rapid 
driers.  They  have,  however,  the  reputation  of  turning  darker 
in  time — a peculiarity  common,  in  a greater  or  less  degree,  to 
all  the  earths,  especially  those  which  require  the  use  of  consid- 
erable oil  in  their  working. 


i66 


HOW  TO  PAINT  PHOTOGRAPHS 


Light  Red  has  the  properties  common  to  all  ochres,  working 
well  in  every  kind  of  vehicle,  and  mixing  with  almost  every 
other  pigment  without  undergoing  change,  and  useful  in  every 
department  of  painting. 

Blue  Black  is  a very  slow  drier  when  used  by  itself,  and 
should  be  ground  as  fine  as  possible.  In  forming  the  tints  for 
painting  flesh,  the  chief  use  of  this  pigment  will  be  found  in 
making  out  the  ‘ ‘ grays  ’’  and  half-tints.  Reduced  with  white 
to  the  necessary  degree,  it  is  the  best  color  to  use  for  blue  and 
gray  eyes.  Blue  Black  will  be  found  sufiiciently  ‘ ‘ black ''  for 
ordinary  purposes ; and  with  the  admixture  of  Indian  Red  in 
the  shadows,  and  white  for  the  lights,  it  meets  every  require- 
ment for  drapery  (black-cloth)  painting.  There  is  possibly  no 
color  the  value  and  power  of  which  will  require  so  much  time 
and  practice  to  become  familiar  with  as  Blue  Black ; but  the 
more  the  student  learns  of  its  usefulness  the  better  it  will  be 
valued  and  appreciated.  Intense  blacks  are  seldom  if  ever  re- 
quired, especially  in  the  early  stages  of  a picture. 

To  meet  any  demand  for  a positive  him — too  much  of  which 
should  never  appear  in  a picture — Cobalt^  or  Permanent  Blue 
may  be  used.  The  former  is  much  esteemed,  and  is  applicable 
to  the  more  delicate  parts. 

For  an  account  of  the  properties  and  adaptations  of  the 
remaining  ones,  see  their  corresponding  uses  in  Water  Colors, 
PP-  32-45- 

These  colors  as  they  are  generally  purchased  in  tubes  have 
about  the  consistency  of  soft  butter,  and  should  he  used  in  that 
form.  In  the  very  outset  the  student  is  cautioned  against  a 
common  fault  of  beginners  in  oil  (especially  with  such  as  have 
previously  worked  in  Water  Colors),  i.  e. , a propensity  to  render 
pigments  thinner  by  the  addition  of  more  oil  ! It  is  best  to  let 
the  oils  alone,  or  if  the  necessity  of  mixing  additional  oil  with 
the  color  occurs,  to  do  it  with  the  spatula  upon  the  palette. 
But  let  the  student  remember  that  his  color,  if  in  a condition 


IN  OIL  COLORS. 


167 


that  it  will  not  stand  on  the  palette — held  almost  horizontally — 
it  can  scarcely  be  in  a state  proper  to  transfer  to  his  work,  near- 
ly perpendicular  on  the  easel. 

^‘Linseed  Oil  is  the  best  of  all  oil,''  said  Van  Dyke,  the 
great  master  of  portraiture  ; and  his  verdict  is  correct  unto  this 
day.  It  is  best  when  used  raw. 

Megilp  is  a combination  of  strong  Drying  Oil  and  Mastic 
Varnish,  and  about  the  consistency  of  well-prepared  colors  ; ex- 
tremely transparent,  agreeable  under  the  brush,  an  admirable 
drier,  and  well  known  as  a vehicle."  Although  in  Megilp, 
when  used  properly,  there  is  nothing  to  be  dreaded,  its  injudi- 
cious use  causes  great  detriment  and  excites  suspicion.  It  is 
often  impure,  is  likely  to  turn  yellow,  and  make  the  picture 
spotted. 

It  must  be  understood,  however,  that  hut  one  kind  of  oil  or  ve- 
hicle should  be  used  throughout  a picture ; all  its  parts  should 
dry  as  equally  as  possible,  and  to  this  end  such  colors  as  are  in 
themselves  slow  driers  should  be  assisted  by  some  vehicle  readi- 
ly combining  with  the  oils  in  which  they  are  ground,  and  pos- 
sessing in  itself  no  injurious  effect  on  them. 

Necessary  Implements, 

I.  Brushes. — These  should,  of  course,  be  selected  according 
to  the  requirements  of  the  kind  of  work.  It  is  recommended, 
however,  to  use  Sable  brushes  almost  entirely  on  paper,  unless 
very  fine  bristle  can  be  had — which  are  advantageous  for  laying 
on  the  opaque  and  heavy  masses,  especially  in  large-sized 
heads.  The  brushes  may  be  round  or  flat,  according  to  prefer- 
ence ; the  round  are  probably  best  for  faces.  Sables  also  do 
better  for  the  sharper  and  more  decided  touches.  For  general 
observations  on  brushes,  see  page  48. 

Just  here  we  would  advise  the  student  to  refrain  from  pur- 
chasing Softeners  or  Blenders^  as  they  are  called,  and  which  are 
too  often  sadly  misapplied  in  reducing  the  picture  to  a flat  or 


i68 


HOW  TO  PAINT  PHOTOGRAPHS 


spiritless  smoothness,  in  order  to  produce  what  is  erroneously 
considered  to  be  an  effect  of  finish  ! Beginners  should  eschew 
them  altogether. 

The  brushes  should  be  thoroughly  washed  with  tepid  water 
and  soap  (made  to  a lather)  always  immediately  after  being 
used  ; or  if  circumstances  prevent  this,  they  should  be  laid  in 
oil  until  they  can  be  attended  to.  Wipe  them  out  carefully 
and  lay  aside  to  dry.  Never  cleanse  them  with  spirits  of  tur- 
pentine, as  it  deprives  them  of  their  softness  and  elasticity,  and 
renders  the  bristles  and  hair  brittle. 

2.  The  Palette  is  composed  of  wood — mahogany,  walnut, 
holly,  maple,  or  any  other  hard  wood.  One  of  medium  size, 
say  9 by  12  inches,  will  answer.  It  should  be  light  and  easy 
to  the  hand,  especially  to  the  thumb,  and  should  always  be 
cleansed  after  using  with  oil  or  spirits  of  turpentine.  Paint 
must  not  be  allowed  to  accumulate  on  its  surface,  and  if  it  has 
dried  or  hardened  thereon  during  the  day’s  work,  it  must  be 
rubbed  off  with  a rag  and  oil. 

Whenever  the  Palette  contains  a superabundance  of  color 
which  it  is  desired  to  keep  until  another  time,  it  can  be  trans- 
ferred with  a spatula  to  a piece  of  glass,  or  even  writing-paper, 
and  laid  in  clean  water  sufficient  to  cover  it ; where  it  will  re- 
main out  of  the  dust  and  keep  fresh  and  soft  for  several  days. 

3.  The  Easel,  Rest-Stick,  Spatula,  etc.,  seepage  50. 

The  Light  for  painting  in  oil  should  be  above  the  level  of 
the  eye,  in  order  to  avoid  reflection  and  for  other  reasons. 
(See  page  52.)  Although  necessarily  obliged  to  be  near  the 
work  in  its  execution,  the  effect  to  be  produced  when  viewed  at 
the  proper  distance  (equal  to  three  times  the  size  of  the  picture, ) 
should  never  be  absent  from  the  student’s  mind.  For  observa- 
tions on  the  handling  of  the  larger-sized  pictures — such  as 
would  be  adapted  to  working  in  oil — see  page  147. 


PRELIMINARIES  TO  WORKING. 


169 


JPreliminaries  to  Working, 

Arrangement  of  the  Palette. — Having  indicated  to  the 
beginner  what  may  be  considered  a sufficient  number  of  colors 
(in  those  already  described),  it  now  becomes  necessary  to  advise 
him  how  to  ‘ ‘ set ''  his  palette  ; because  a proper  and  systematic 
arrangement  of  the  colors  upon  the  palette  is  not  only  essential 
for  reasons  of  convenience  and  cleanliness,  but  on  account  of 
their  intermixture  from  light  to  dark,  or  from  White  through 
the  colors  to  Black ; also  in  order  to  guard  against  the  risk  of 
injurious  contact,  and  form  an  agreeable  scale  to  the  eye. 

The  most  important  setting  will  be  for  use  in  painting  flesh — 
the  portrait — and  is  as  follows  : 

Taking  up  the  palette  in  the  left  hand,  begin  by  putting  Sil- 
ver White  (i.)  at  the  very  front  edge  nearest  the  thumb  ; and, 
for  reasons  elsewhere  given,  squeeze  out  a considerable  quantity 
from  the  tube — say  three  to  five  times  as  much  as  any  of  the 
other  pigments.  Then,  keeping  along  the  outer  edge,  place 
the  colors  in  the  following  order — mixing  and  laying  them  from 
front  to  rear  : 

2.  Yellow  Ochre  and  White,  3 

3.  Venetian  Red,  Yellow  Ochre  and  White, 

4.  Light  Red  and  White, 

5.  Vermilion,  Rose  Madder  and  White, 

6.  Yellow  Ochre,  Blue  Black  and  White, 

7.  Vermilion,  Blue  Black,  and  White, 

8.  Blue  Black  and  White, 

9.  Light  Red,  YellQW  Ochre  and  Black  ; for 

— to  be  used  with  Megilp. 

10.  Cobalt. 

In  this  setting,  the  pure  colors  as  squeezed  from  the  tube 
being  placed  along  the  edge,  the  three  tints  of  each  are  to  be 
appended  in  rows  toward  the  student’s  arm.  Each  tint  is  to  be 
made  lighter  (by  the  addition  of  more  white)  so  as  to  take  from 

8 


tints, 

< i 
( ( 

( ( 

< ( 

( ( 
c c 

the  shadows 


1 70  HOW  TO  PAINT  PHOTOGRAPHS. 

the  preceding;  but  not  conversely,  else  purity  is  endangered. 
Naples  Yellow  should  be  used  for  women  and  children,  and 
Vermilion  in  compound  with  it.  It  will  be  seen  that,  by  plac- 
ing the  colors  along  the  outer  edge,  the  centre  and  the  inner 
edge  are  reserved  for  mixtures. 

Concerning  Mixtures,  it  may  be  observed  in  advance,  that 
it  is  far  better  the  tints  for  the  general  and  principal  masses 
should  be  prepared  on  the  palette  with  the  spatula  or  knife — 
trusting  to  the  aid  of  the  brush  only  in  bringing  them  together 
on  the  photograph,  with  as  much  clearness  and  precision  as 
possible.  Some  persons  rely  entirely  upon  the  brush  or  pencil 
in  forming  these  combinations  ; but  it  requires  a degree  of  ex- 
pertness not  to  be  expected  in  beginners,  so  that  it  is  better  to 
pursue  the  first-mentioned  course.  The  tints  should  not  be 
mixed  too  light,  or  ‘ ‘ chalkiness  will  ensue  ; and  the  more  they 
are  ‘ ^ teased ''  and  trifled  with  (for  want  of  decision)  the  more 
they  will  become  sullied. 

Manipulation. 

1.  The  Brush  being  held  between  the  thumb  and  two  first 
fingers  (see  p.  53)  the  motion  to  be  used  in  general  is  simply 
that  of  closing  the  hand,  or  drawing  the  brush  toward  you. 
There  are  also  other  ways  of  using  the  brush  in  oil-painting, 
but  unnecessary  to  refer  to  here. 

It  is,  however,  very  essential  that  the  student  should  under 
stand  how  to  work  the  two  following  processes,  viz. : 

2.  Glazing  is  a term  used  to  express  the  passing  of  a darker 
color,  reduced  with  oil  or  some  other  transparent  vehicle,  over 
a lighter  one,  in  order  to  heighten  the  brilliancy  of  the  tints ; 
giving  thereby  transparency  and  force  to  the  shadows  and  bring- 
ing the  whole  to  an  agreeable  and  harmonious  tone.  It  special- 
ly implies  the  use  of  those  pigments  which  are  transparent,  such 
as  Yellow  Ochre,  Raw  and  Burnt  Sienna,  all  the  Lakes,  As- 
^altum,  etc. ; but  all  colors  except  White  are  more  or  less 


MANIPULATION. 


I7I 

available  in  this  respect,  according  to  the  addition  of  a greater 
or  less  quantity  of  oil  or  Megilp.  Glazing  must  never  be  done 
unless  the  previous  working  is  entirely  dry. 

3.  Scumbling  is  the  opposite  process  of  Glazing,  or  the  pass- 
ing of  a thin  layer  of  a lighter  over  a darker  tint,  and  is  applied 
to  parts  which  are  too  forcible  in  color.  It  is  necessary,  how- 
ever, to  be  cautious  that  the  operation  of  scumbling  does  not 
go  so  far  as  to  produce  opacity,  instead  of  simply  modifying  the 
part,  rendering  it  cooler  and  less  defined.  By  this  means  ‘ ‘ at- 
mospheric effects”  are  obtained.  The  part  to  be  scumbled 
upon  must  first  be  completely  dry. 


Method  of  JPainting. 

The  picture  having  been  properly  mounted,  sized,  and  oiled, 
and  the  necessary  combinations  formed  upon  the  palette,  the 
student  may  now  proceed  to  the  actual  operation  of  painting  a 
photograph  in  Oil. 

We  must  also  presuppose  either  the  presence  of,  or  a perfect 
acquaintance  with,  the  original  of  the  photograph  ; and  also 
the  possession  of  a duplicate  picture  (see  p.  29)  to  assist  in 
maintaining  the  original  drawings  after  the  photograph  shall  be- 
come lost  to  sight  as  the  painting  advances.  It  is  in  this  re- 
spect that  the  duplicate  becomes  a ^«f(f(?-print,  indeed  ; and  it 
is  needed  much  more  than  in  Water  Colors,  because  the  oil  pig- 
ments are  all  opaque  when  mixed  with  white. 

First,  mark  out  the  principal  lines  and  shadows  with  Burnt 
Umber,  Burnt  Sienna,  or  any  transparent  brown,  as  a basis  for 
the  after-colors,  as  well  as  to  overcome  the  blackness  of  the 
photograph.  Then  proceed  with  the  flesh  and  other  tints,  with 
the  intention  that  but  one  painting,  or  two  at  the  farthest,  shall 
complete  the  work. 

Whatever  objections  may  be  urged  against  the  method  of 
painting  “a/  once'’ — in  which  it  is  endeavored  to  accomplish 
as  much  as  can  be  done  at  once,  leaving  as  little  as  possible  for 


172 


HOW  TO  PAINT  PHOTOGRAPHS. 


an  after-process — it  is  the  safest  for  one  as  yet  a novice  in  the 
use  of  color.  It  is  useless  for  the  beginner  to  harass  himself 
about  the  nicer  processes  of  painting,  and  the  surest  way  is  to 
seek  at  first  all  he  can  by  the  most  simple  and  direct  methods. 

Care  should  be  observed  in  the  beginning  to  lay  on  the  tints 
without  overloading  them^  an  error  into  which  the  inexperienced 
are  quite  likely  to  fall.  However  desirable  it  may  sometimes 
be  to  secure  a ‘ ‘ body  ’’  of  color,  it  is  better  to  effect  it  by  de- 
grees. The  masses  should  be  put  in  first,  leaving  the  highest 
lights  and  darkest  parts  for  the  last. 

If  the  working  is  carefully  and  judiciously  done  at  the  outset 
— that  is,  the  colors  laid  in  their  proper  places,  the  drawing 
maintained,  and  the  lights  and  shadows  harmoniously  graduated 
— the  after-working  will  consist  of  simply  improving  what  has  al- 
ready been  done.  It  may  be  necessary  to  regulate  the  tone  of 
the  colors,  to  ‘‘load”  some  color  here  and  smooth  it  down 
there,  and  also  to  add  those  lines  and  ‘ ‘ touches  ” which  give 
spirit  and  finish  to  the  whole. 

If  the  picture  has  been  left  a number  of  hours  to  dry  (or  for 
other  reasons),  when  taken  in  hand  a second  time  it  will  be 
found  that  the  surface  has  become  hard  as  well  as  dry,  and  will 
not  take  the  color  again  kindly  until  it  is  “oiled  out.”  To  do 
this,  it  should  be  dampened  first  with  a soft  sponge,  or  the  flat  side 
of  half  of  a raw  potato  ;-then  go  over  that  portion  which  is  to 
be  painted  upon  with  a soft  brush  and  oil.  If  the  oil  is  put  on 
too  thickly,  the  superabundance  should  be  rubbed  off  thor- 
oughly with  a linen  or  silk  rag.  Only  so  much  should  be 
“oiled  out”  as  it  is  proposed  to  work  upon,  the  design  being 
to  furnish  a surface  on  which  the  paint  will  take  and  spread  bet- 
ter, and  also  to  bring  back  the  dried  color  to  its  original  tint 
and  freshness — it  being  easier  to  work  upon  a fresh  than  a dried 
surface. 

If,  upon  taking  the  picture  in  hand  after  it  is  once  dry,  it  is 
found  that  fresh  color  when  laid  on  thin,  does  not  readily  adhere, 
but  is  apt  to  “creep” — like  water  upon  an  oily  surface — the 


METHOD  OF  PAINTING. 


173 


difficulty  may  be  overcome  by  simply  washing  it  with  water  ; 
using  a sponge  or  soft  cloth,  and  carefully  wiping  it  off  again. 
If  the  whole  picture  is  not  sufficiently  dry  to  admit  of  this,  mere- 
ly breathing  upon  the  part  to  be  worked  over  will  answer  the 
purpose.  As  the  moisture  of  the  breath  will  adhere  only  to  such 
parts  as  are  dry^  this  method  of  ‘ ‘ breathing can  also  be  used 
to  discover  when  a picture  is  sufficiently  dry,  without  subjecting 
it  to  the  touch, — showing  the  state  of  the  work  in  this  respect 
with  the  utmost  certainty. 

Previous  Instructions. — In  regard  to  the  peculiarities  oi 
method,  attention  to  drawing,  and  details  of  color  with  which 
the  painting  of  the  face  is  to  be  executed,  the  student  is  directed 
to  consult  the  various  chapters  previously  given,  concerning  the 
Flesh,  Hair,  Eyes,  Cheeks,  Mouth,  Neck  and  Bosom,  Hands, 
etc.  Also,  on  the  Carnations,  Grays  and  Pearly  Tints  ; Touch- 
es ; etc.  In  these  (pp.  63-81)  he  will  find  ample  instructions 
respecting  the  general  and  special  treatment  of  the  features. 
This  fundamental  knowledge  is  absolutely  necessar)^,  and  when 
thoroughly  learned  makes  the  work  easy.  The  student  will 
then  be  able  to  discriminate  between  the  use  of  the  pigments  in 
Water  Colors  and  in  Oil,  if  he  understands  the  effect  of  color  which 
those  chapters  aim  to  teach  ; for  it  is  quite  obvious  that  after 
the  idea  of  color  is  comprehended  and  becomes  fixed  in  the  stu- 
dent’s mind,  his  genius,  enlightened  by  study,  will  guide  his 
perception  in  a proper  choice  of  the  pigment  with  which  he  can 
realize  that  idea  upon  the  photograph. 

Oil  and  Water  Color  Pigments. — If  a comparison  be 
made  betv/een  the  various  pigments  used  in  Oil  and  Water 
Color,  it  will  be  found  that  the  majority  of  them  are  common  to 
both  schools ; and  that  the  difference  lies  mainly  in  their  prep- 
aration and  treatment.  Remember  particularly  that,  in  Oil, 
colors  are  heightened  in  proportion  to  the  amount  of  White, 
and  lowered  or  ‘ ‘ broken  ” according  to  the  amount  of  Black 
used  in  their  mixture — although  the  tone,  for  the  most  part,  ex- 


174 


HOW  TO  PAINT  PHOTOGRAPHS. 


ists  in  the  color  itself.  With  few  exceptions,  the  adaptations  of 
the  pigments  are  essentially  the  same  in  Oil  as  in  Water  Colors, 
SO  that  to  enlarge  upon  them  here  would  only  be  repeating  what 
has  been  already  given. 

The  special  exception,  however,  is  Indigo,  so  very  useful  alone 
and  for  mixtures  in  Water  Color,  is  not  used  at  all  in  Oil ; and 
instead  of  the  Compound  Black  (of  which  Indigo  is  the  princi- 
pal constituent)  for  black  cloth  draperies.  Blue  Black  must  be 
used.  The  shadows  of  black  drapery  ought  to  be  warmed  with 
a brown,  red  or  yellow  ; so  also  those  of  white  drapery  (being 
made  with  Black)  should  be  toned  with  Burnt  Umber,  Burnt 
Roman  Ochre,  or  a little  Yellow,  according  to  circumstances. 

Backgrounds. — The  matter  of  backgrounds  has  also  been 
fully  treated  in  general  and  particular — see  pp.  103-117 — and 
the  student  will  find  it  comparatively  easy  to  handle  this  part 
of  his  work  in  oil.  In  bust  pictures  especially  it  only  requires 
a selection  of  colors  that  will  harmonize  with  the  head  and  dra- 
pery, and  give  good  relief,  the  handling  and  graduation  of  them 
being  very  simple. 

Cracking. — It  has  been  already  stated  that  hut  one  kind  of  oil 
or  vehicle  should  be  employed  throughout  a picture.  All  dis- 
similar mixtures  should  be  avoided,  because  it  is  by  the  use  of 
these  that  cracking  is  most  commonly  produced.  A heavy  body 
of  color  may  be  laid  at  once  upon  a well-dried  under-prepara- 
tion without  risk  ; but  if  various  oils  have  been  used,  they  are 
not  likely  to  dry  instantaneously  and  to  the  same  extent.  Con- 
sequently, after  the  picture  is  varnished  (perhaps  years  after), 
and  supposed  to  be  complete,  the  varnish  and  the  colors  that 
were  applied  last  will  yield  in  cracks  to  the  under-color  which 
may  have  been  retarded  by  a slower  drying  oil  or  vehicle. 
Hence  arises  the  great  importance  of  using  but  one  equally  firm 
and  reliable  oil  or  medium  of  color  throughout  the  picture. 

Varnishing. — Mastic  varnish,  diluted  accordingly  with  Spirits 
of  Turpentine,  is  the  one  almost  universally  adopted  for  bring- 


METHOD  OF  PAINTING. 


175 


ing  out  the  work  when  completed  ; but  it  should  neither  be  too 
strong,  nor  laid  on  in  a quantity  beyond  that  which  may  be  re- 
quired to  bear  out  the  colors  and  give  it  an  even  surface. 

It  has  been  advised  by  some,  that  so  long  as  the  surface  of 
the  work  is  even  and  glossy,  it  should  not  be  varnished  ; but 
when  it  becomes  uneven  or  spotted — that  is,  some  parts  of  it 
hard  and  dull  whilst  other  parts  still  look  fresh — it  is  necessary 
to  do  so.  As  this  contingency,  however,  depends  upon  many 
circumstances  during  the  process  of  painting,  the  student  must 
decide  for  himself,  after  the  work  has  been  given  ample  time  to 
dry.  On  this  point  it  should  be  known  that  the  picture,  es- 
pecially in  the  earlier  stages  of  its  progress,  cannot  be  too  freely 
exposed  to  the  drying  influences  of  both  air  and  sunshine.  It 
is  a bad  practice  to  turn  pictures  to  the  wall  while  drying. 

Previous  to  varnishing,  the  picture  should  be  thoroughly 
cleansed,  not  only  from  dust,  but  any  other  impurities,  greasi- 
ness, etc.  It  should  be  in  such  condition  as  to  insure  the  ad- 
hesion of  the  varnish  ; if  otherwise,  the  varnish  may  ‘ ‘ creep  ” 
and  sometimes  even  granulate  in  hardening.  The  cleansing 
may  be  effected  by  washing  with  water  alone,  or  very  weak  soap 
and  water ; afterwards  wipe  it  thoroughly  dry  with  an  old  silk 
handkerchief.  Then  to  avoid  further  risk,  dry  it  in  the  sun  or 
before  a fire  for  a few  minutes,  and  while  still  warm  the  varnish 
should  be  applied.  If  the  varnish  itself  be  slightly  warmed  it 
will  flow  better. 

In  applying  the  varnish  lay  the  picture  down,  face  upward, 
and  let  no  dust  or  motes  fall  upon  it.  With  a broad  and  not 
too  coarse-haired  brush,  lay  on  the  varnish  as  rapidly  as  pos- 
sible, and  be  sure  to  finish  completely  at  once,  so  as  never  to  go 
hack  for  retouching.  Some  think  that  the  varnish  should  be 
poured  on  the  picture  and  spread  with  the  brush  at  the  same 
time,  instead  of  transferring  it  from  a cup  to  the  picture  by  lift- 
ing it  with  the  brush  ; but  this  we  do  not  advise — the  other 
method  is  safer  and  better. 


HOW  TO  PAINT  PHOTOGRAPHS. 


176 

Conclusion, 

It  is  not  unfrequent  that  professional  artists  assume  a senti- 
ment of  contempt  for  the  painting  of  a photograph  in  Oil  ! Al- 
though willing  to  recognize  the  fineness  and  incontestable  beau- 
ty of  water  color,  as  applied  to  the  small-sized  photographic 
pictures,  they  are  scarcely  willing  to  acknowledge  the  legitimacy 
of  oil  painting  upon  a photographic  basis.  In  the  face  of  this, 
however,  it  is  a well-known  fact  that  even  artists  of  first-class 
standing  do  use  photography,  variously  applied,  as  an  important 
(but  secret)  help  to  their  drawing  and  lighting,  begging  excuse, 
however,  on  the  ground  that,  in  so  doing,  it  saves  valuable  time 
to  the  sitter ! — which  is,  so  far,  undoubtedly  true. 

But  let  no  animadversion  of  this  kind  deter  the  student  from 
his  honest  aim  to  accomplish,  by  careful  attention  and  diligent 
study,  a successful  fulfillment  of  the  purpose  for  which  these 
humble  instructions  are  designed. 


PAET  lY. 



§]^ruinu-p]^ijlugra|t]^» 

This  picture,  commonly  known  as  the  “Crystal  Ivory- 
type,  ''  is  more  the  result  of  a process  than  it  is  of  any  special 
dexterity  in  art.  It  has  the  appearance  characteristic  of  the  gen- 
uine Ivoiytype,  but  surpassing  it  in  smoothness  and  brilliancy, 
whilst  the  process  of  coloring  suggests  the  so-called  “Grecian 
Painting of  yore.  Hence  it  would  seem  to  combine  two  old 
ideas  ‘ ‘ reconstructed  ’’  to  a new  and  pleasing  shape  ; and  being 
quite  easy  to  handle — requiring  no  actual  knowledge  of  the  art 
of  painting — it  has  attained  a considerable  popularity. 

A complete  outfit  of  the  necessary  materials—colors,  brushes, 
gum  tragacanth,  spermaceti,  etc. , specially  selected,  and  in  con- 
venient shape  for  use-can  be  purchased  of  the  color-men  and 
photographic  stock  dealers. 

The  process  can  be  applied  to  old  pictures  (if  not  discolored) 
as  well  as  to  new  ones.  When  they  cannot  be  had  direct  from 
the  photographer,  unmounted,  they  can  be  removed  from  the 
card-board  by  soaking  them  in  moderately  warm  water  until  the 
paste  is  softened,  when  they  will  float  off  or  can  be  gently  lifted. 
But  do  not  try  to  hurry  this  operation  and  damage  the  picture ; 
it  will  not  come  off  until  the  paste  is  thoroughly  softened,  and 
then  it  will  spontaneously. 

Lay  it  face  downward,  and  carefully  remove  all  the  soft  paste 


178 


HOW  TO  PAINT  PHOTOGRAPHS. 


from  the  back.  Cut  it  a trifle  smaller  than  the  glass  on  which 
it  is  to  be  projected,  and  put  it  between  the  folds  of  blotting- 
paper  until  nearly  dry. 

Having  prepared  the  Tragacanth  paste  beforehand — according 
to  directions  hereafter  given — coat  the  face  of  the  print  and  con- 
cave surface  of  the  glass  with  it,  using  the  largest  brush.  Lay 
the  print  %n  the  glass,  being  careful  to  remove  air-bubbles  and 
excess  of  paste  with  the  fingers,  by  working  from  the  centre  ; 
after  which  place  several  thicknesses  of  heavy  paper  on  the  print 
and  work  it  quickly  down  with  the  mounting  tool,  taking  great 
care  not  to  break  the  glass.  When  thoroughly  dry  it  is  ready — 

To  Mender  Transparent, 

Place  the  cake  of  spermaceti  in  the  tin  tray,  setting  the  latter 
in  a vessel  containing  hot  water  ; put  this  on  the  fire,  and  when 
melted,  immerse  the  glass-mounted  print,  which  must  remain 
until  the  picture  becomes  transparent.  Remove  it  from  the 
tray,  drain,  and,  when  cold,  rub  off  with  tissue  paper  or  a cloth. 

The  spermaceti  can  be  re-melted  for  future  use. 

Directions  for  Coloring, 

The  colors  may  now  be  applied  directly  on  the  print  to  the 
eyes,  lips,  jewelry,  lace  work,  and  all  decisive  ‘Touches’'  or  parts 
which  require  no  blending.  Paste  narrow  strips  of  card-board  to 
the  concave  edge  on  top,  bottom  and  sides  ; then  lay  another 
glass  of  the  same  size,  with  the  convex  surface  toward  the  con- 
cave side  of  the  first.  On  this  clear  glass  paint  the  hair,  com- 
plexion, drapery,  and  background. 

The  following  oil  colors  have  been  found  the  most  useful  ; 
for  further  information  concerning  which,  see  remarks  upon 
them  in  chapters  on  painting  photographs  in  Oil. 

For  the  Eyes. 

Blue — Permanent  Blue  with  a little  Ivory  Black. 

Brown — Vandyke  Brown. 

Gray — Permanent  Blue,  Vandyke  Brown  and  Silver  White. 


THE  CHROMO-PHOTOGRAPH. 


179 


Flesh — ^Vermilion,  Silver  White  and  Naples  Yellow ; for  chil- 
dren, use  Crimson  Lake  in  place  of  Vermilion  ; for  dark 
complexions,  deepen  with  Vandyke  Brown. 

For  the  Hair. 

Blondes — Chrome  Yellow  and  Burnt  Sienna. 

Brown — Vandyke  Brown. 

Black — Ivory  Black,  Silver  White  adding  Permanent  Blue. 

Gray — Silver  White,  Naples  Yellow,  Ivory  Black,  Permanent 
Blue. 

For  Backgrounds,  use  your  own  judgment  in  selecting  the 
color,  but  keep  in  mind  the  necessity  of  complementary  effect. 

If  necessity  should  require  it,  the  colors  may  be  removed 
wholly  or  in  part  with  a little  Megilp,  applied  with  a soft  cloth. 
The  coloring  finished,  back  up  with  card-board. 

The  Chromo-photograph  is  completed  by  binding  the  edges 
and  back  together  with  Gum  Paper,  previously  cut  in  narrow 
strips  for  the  purpose. 

To  Prepare  the  Gum  Tragaeanth. 

Take  a tin  cup  and  cover  with  hot  water  such  quantity  of  the 
gum  as  you  desire  to  make  into  paste ; let  it  simmer  for  a few 
minutes,  add  boiling  water,  stirring  continually.  Thin  (if  nec- 
essary) with  boiling  water. 

It  is  perhaps  opportune  to  remark  here,  that  the  brevity  of 
the  above  directions  is  atoned  for  by  the  complete  instructions 
given  in  previous  pages,  where  the  student  in  chromo-photog- 
raphy need  but  seek  in  order  to  find  information  on  every  nec- 
essary topic  appertaining  to  his  portrait  work. 

He  will  find  many  directions  given  for  painting  by  the  ordi- 
nary methods  that  may  suggest  thoughts  which  can  be  usefully 
applied  to  this  later  style  of  picture.  Remember  that  the  same 
principles  apply  to  all  kinds  of  painting,  so  far  as  the  attainment 
of  effect  and  beauty  is  concerned,  and  hence  the  greater  knowl- 
edge becomes  a source  of  greater  power, 


PAET  Y 


The  retouching  of  the  negative  is  no  longer  a matter  of 
novelty  or  experiment.  It  has  become  not  only  a requirement 
of  art,  but  a matter  of  business  necessity.  The  professional 
photographer  is  compelled  to  educate  himself  in  this  regard,  or 
provide  otherwise  for  the  systematic  retouching  of  his  negatives. 

The  acknowledged  excellence  of  this  resource,  therefore,  has 
not  failed  to  secure  a rapid  adoption,  until  it  has  now  become 
one  of  the  most  conspicuous  features  in  the  present  advanced 
condition  of  the  photographic  art ; and  as  an  art-resource,  it  is 
justly  entitled  to  coiisideration  and  an  important  place  in  this 
volume. 

The  proper  manipulation  of  the  photographic  image  on  glass 
is  really  (though  not  supposed  to  be)  a very  much  more  diffi- 
cult operation  than  a treatment  of  the  same  printed  upon  pa- 
per ; and  although  there  is  nothing  to  prevent  great  improve- 
ment from  the  most  humble  beginning,  it  is  plain  that  the 


Note. — Through  the  assistance  of  Mr.  William  Kurtz,  the  renowned 
New  York  artist,  this  book  had  the  honor  of  giving  the  first  comprehen- 
sive ^exposition  of  negative  retouching  printed  in  this  country^  in  its  sec- 
ond edition,  issued  October,  1869. 


RETOUCHING  THE  NEGATIVE. 


l8l 


higher  results  can  only  be  achieved  by  those  who  understand 
light  and  shadow,  and  are  somewhat  competent  in  drawing  the 
facial  muscles.  Further  advantage  is  to  be  derived  from  a 
knowledge  of  the  printing  qualities  of  a negative,  ability  to 
perceive  just  where  the  corrections  are  required,  and  what  ef- 
fect in  the  finished  print  every  touch  put  upon  the  negative  will 
have. 

With  respect  to  the  various  processes  of  manipulation  appli- 
cable to  this  purpose,  different  styles  will  naturally  suggest 
themselves  to  the  intelligent  operator — whether  by  stippling, 
hatching,  or  a combination  of  both.  The  process  mostly  adopt- 
ed is  that  of  stippling — for  general  instructions  in  which,  see 
page  57.  ‘‘Stippling''  is  working  with  the  point  of  the  brush 
in  small  dots ; but  in  this  case  the  dots  must  not  only  be  very 
small,  but  very  faint,  the  color  being  used  sparingly,  for  it  is 
always  better  to  go  over  the  part  to  be  filled  up  two  or  three 
times  than  to  try  to  do  it  at  once  with  strong  color,  as  in  the 
latter  case  the  touching  may  be  visible  upon  the  print. 

The  Requisite  Materials  and  appliances  are  principally 
as  follows  : 

1.  The  Retouching  Frame,  of  which  there  are  a number  of 
different  sizes  and  styles  to  be  procured.  The  w^ood-cut  (see 
next  page)  represents  one  made  by  E.  & -H.  T.  Anthony  & Co. , 
New  York,  and  seems  to  have  more  advantages  than  any  other. 
This  frame,  properly  adjusted,  is  to  be  placed  before  a window 
having  a strong  light ; and  since  all  the  light  but  that  which 
falls  upon  the  reflector  must  be  masked  and  shut  out,  even  sun- 
shine  is  not  objectionable. 

2.  Black  Lead-Pencils. — The  most  desirable  ones  are  manu- 
factured by  Faber  ; they  are  known  as  the  “ Siberian,"  and  are 
made  of  the  splendid  graphite  of  the  Briskal  Lake.  They  are 
lettered  or  numbered  according  to  the  degrees  of  hardness,  and 
can  be  had  in  great  variety.  No  precise  directions  Can  be 
given  to  the  student ; he  must  make  his  selection  according  to 


i82 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  work  to  be  done.  Those  generally  adopted  range  from 
No.  I to  No.  6.  Fine  Sand-paper  and  card-hoard  (not  too 
smooth)  are  used  for  obtaining  the  sharpest  points.  - 

3.  A Stump  for  applying  powdered  lead.  The  regular  cray- 
on stump  being  both  too  soft  and  too  thick,  special  ones  may 
be  provided  thus  : Take  a piece  of  unsized  (printing)  paper, 
neither  too  hard  nor  too  soft ; cut  a strip  about  eight  inches 
long,  two  inches  wide  at  one  end,  and  a half  inch  at  the  other  ; 
turn  the  small  end  over  between  the  thumb  and  forefinger,  and 


roll  it  up  tightly  into  a hard  roll  or  stump.  A little  practice 
will  soon  enable  you  to  regulate  the  making  of  a sharp  or  a 
dull  point,  as  desired  ; further  sharpening  can  be  done  with 
sand-paper.  Fine  blotting-paper,  several  thicknesses  pasted  to- 
gether with  thin  starch  and  rolled  up,  is  also  recommended. 

4.  Sable  Brushes  of  the  smaller  sizes.  Very  soft  ones  are 
preferred  for  the  reason  that  the  color  must  often  be  applied 
very  thin  and  nearly  dry  ; and  in  such  cases  a stiffer  brush  will 
not  keep  a sufficiently  fine  point,  owing  to  the  little  moisture. 


RETOUCHING  THE  NEGATIVES. 


83 


5.  (a.)  India-Ink. — Although  it  would  be  better  if  it  could  be 
used  alone,  it  is  necessary  to  use  something  as  a size.  Mixed 
with  Gum  Arabic,  it  is  very  apt  to  crack  off  in  the  printing- 
frame  when  it  becomes  heated  ; and  if  mixed  with  too  much 
sugar  (to  prevent  this  cracking  off),  it  will  adhere  to  the  paper 
when  it  becomes  damp.  It  can,  however,  be  used  with  cer- 
tainty when  the  gum  solution  is  composed  of  six  parts  of  Gum 
Arabic  with  one  part  of  Rock  Candy,  and  this  will  have  about 
the  right  consistence. 

(b.)  Water  Color  Pigments.  — Of  these  quite  a variety  are  rec- 
ommended and  used  by  different  workers,  viz. : Indian  Yellow, 
Prussian  Blue,  Indian  Red,  Lampblack,  Dragon’s  Blood,  Co- 
balt and  Indian  Red,  White  and  Sepia. 

6.  A Magnifying  Glass  and  Opaque  Paper  (black  or  green 
preferred)  with  which  to  cover  the  ground  glass  and  the  nega- 
tive, except  the  portion  being  worked  upon,  thus  masking  out 
the  unnecessary  light  and  glare  which  in  a little  while  would 
become  wearisome  and  hurtful  to  the  eye. 

7.  Preparation  of  the  Negative  Surface. — This  can  be  accom- 
plished in  two  different  ways,  viz. : 

(a.)  By  the  application  of  a suitable  Varnish  ; several  kinds 
of  which,  prepared  expressly,  are  to  be  had  of  the  photographic 
stock  dealers. 

(b.)  By  the  application  of  certain  finely  pulverized  substances, 
which  being  rubbed  lightly  over  that  part  of  the  varnished  neg- 
ative surface  to  be  retouched,  takes  off  the  brightness  of  the 
varnish,  and  produces  a mat  or  toothy  surface,  without  the  least 
injury  to  the  collodion  film  beneath.  The  materials  thus  far 
recommended  for  this  purpose  are  Pumice-stone,  Resin,  Pre- 
pared Chalk,  and  Cuttle-fish  Bone — the  first-mentioned  being 
generally  preferred. 

Dropping  a quantity  of  the  substance  upon  the  varnished 
film — which  should  not  be  too  thiri — it  must  be  gently  rubbed 
over  with  the  ball  of  the  finger,  using  a circular  motion.  The 
finger  should  be  held  almost  perpendicularly  and  pressed  down 


i84 


HOW  TO  PAINT  PHOTOGRAPHS. 


with  some  weight,  for  if  the  rubbing  is  done  horizontally  the  re- 
sult is  a polished  rather  than  a granulated  surface.  The  sur- 
plus powder  is  afterwards  to  be  well  taken  off  with  a camebs-hair 
brush  or  a soft  rag.  When  held  against  an  intense  light  and 
viewed  as  a transparency,  fine  hair  lines  are  visible  upon  this 
part  of  the  negative,  but  they  have  no  effect  in  the  printing. 

Manipulation. — Having  been  provided  with  a strong  guide- 
print  from  the  negative,  and  the  negative  itself  placed  within 
the  retouching  frame  and  in  a proper  light,  by  comparing  the 
two  it  is  easily  perceived  just  what  corrections  are  desirable  and 
practicable  to  make.  The  pinholes  must,  of  course,  be  touched 
out  completely  with  Ink  or  color,  which  should  not,  however, 
be  used  in  such  depth  as  to  exceed  the  degree  of  opacity  in  the 
film  adjacent. 

Many  of  the  larger  semi-transparent  spots  may  next  be  re- 
duced in  brightness,  and  a general  graduating  of  the  inequali- 
ties, with  such  pencil  as  the  operator  may  prefer.  A ^‘3  H '' 
Faber  pencil  will  answer  to  remedy  these  in  the  shadows,  as 
there  is  less  filling  up  to  be  done;  and  a ‘'1  H '"should  be 
used  for  the  light  side  of  the  face,  as  the  spots  are  deeper  there, 
the  surrounding  film  being  thicker.  Due  caution  should  also 
be  exercised  in  obliterating  spots  and  freckles,  that  the  covering 
be  no  denser  than  is  just  necessary,  and  that  it  should  cover  no 
other  portion  than  the  exact  spot,  otherwise  there  will  appear  in 
the  print  a light  circle  around  it,  from  the  overlapping  of  the 
color  or  pencilling.  This  would  necessitate  retouching  on  the 
print,  whilst  the  aim  should  be  to  leave  little  or  nothing  to  be 
done  afterwards. 

If  the  line  along  the  nose  is  very  narrow  and  black,  a fine 
brush  and  Ink  will  be  found  better  adapted  than  the  pencil.  It 
must  be  filled  in  with  thin  Ink  (and  gum),  care  being  exercised 
not  to  fill  it  up  entirely,  as  this  would  cause  it  to  show  white 
and  at  once  destroy  the  modelling  and  the  likeness,  which  must 
not  be  disturbed. 


RETOUCHING  THE  NEGATIVES. 


185 


If  the  shadows  under  the  eyebrows,  nose,  ears,  chin,  and  other 
places,  where  it  is  desirable  to  have  them  lighter  and  more  trans- 
parent, are  smooth  enough  but  too  dark,  do  not  attempt  to  re- 
duce the  heaviness  by  stippling,  for  the  probabilities  are  that  the 
work  will:  result  in  an  uneven  collection  of  light  spots,  giving 
the  effect  of  a diseased  skin.  But  rather  take  a ‘ ‘ 6 B pencil, 
which  is  very  soft,  and  scrape  off  a sufficient  quantity  of  the 
lead  on  a piece  of  paper.  Fill  the  stump,  and  go  gently  over 
these  intenser  shadows  wherever  they  exist,  and  it  will  be  seen 
how  easily  and  with  what  great  rapidity  they  can  be  corrected 
without  affecting  or  injuring  the  original  drawing  and  model- 
ling. 

Be  careful  not  to  have  too  much  lead  on  the  stump,  else  the 
first  touch  upon  the  negative  is  apt  to  show  too  strongly  ; it  is 
better  to  try  it  first  on  the  edge  of  the  plate  and  work  off  the 
surplus  lead.  If,  too,  the  stump  be  overloaded,  you  will  pro- 
duce a spotted  surface,  but  this  must  be  carefully  avoided  since 
it  cannot  be  corrected  by  rubbing  off.  Indeed  no  amount  of 
rubbing  with  India-Rubber,  bread,  or  anything  else  will  accom- 
plish this  ; as  it  has  but  the  effect  of  polishing.  A further  rub- 
bing with  the  pumice-powder  is  the  only  means  of  remedying 
the  spot ; but  it  is  best  to  avoid  a resort  to  this  by  previous 
carefulness.  If,  on  the  contrary,  the  stump  does  not  carry 
enough  lead  at  first,  go  over  it  again,  little  by  little,  until  the  re- 
quisite degree  of  opacity  has  been  attained. 

In  addition  to  this  stump-work  upon  the  face,  it  can  also  be 
rendered  very  useful  in  lighting  up  the  drapery  folds,  and  that 
portion  of  the  background — especially  in  pictures  a la  Rem- 
brandt— where  it  occurs  too  dark  against  the  shadow  side  of  the 
face. 

Take  up  the  pencil  again,  and  proceed  to  the  fine  work  upon 
the  face.  Commencing  with  the  forehead,  soften  the  wrinkles 
by  working  the  pencil  in  short  strokes  along  the  darkest  lines. 
Remember  that  the  markings  upon  all  faces  are  invariably  pho- 
tographed with  too  great  decision  and  severity,  and  conse- 


i86 


HOW  TO  PAINT  PHOTOGRAPHS. 


quently  there  need  be  no  hesitation  to  soften  and  subdue  (it 
not  remove)  them,  so  long  as  character  and  individuality  is  re- 
tained. 

Proceed  next  to  lighten  the  shadowed  side  of  the  forehead, 
not  by  hatching  or  stippling,  but  by  a circular  motion  of  the 
pencil,  bearing  on  lightly,  and  working  so  that  the  shadow  is 
seen  to  be  filling  up,  yet  without  showing  the  marks  of  the  pen- 
cil. Now,  with  the  B pencil,  soften  the  lines  under  the  eyes, 
working  in  the  same  manner  as  upon  the  wrinkles.  Then  the 
lines  from  the  wings  of  the  nostrils  and  the  corners  of  the  mouth 
claim  attention  ; all  to  be  softened  but  not  removed.  Having 
manipulated  the  lines,  creases,  and  inequalities  to  a satisfactoiy 
condition,  the  lights  upon  the  shadowed  cheek  may  be  strength- 
ened by  the  same  circular  motion  as  was  used  upon  the  fore- 
head, being  careful  to  keep  them  subservient  to  the  higher 
tones  upon  the  lighted  side  of  the  face. 

After  the  resources  of  the  pencil  and  stump  are  exhausted 
there  may  remain  sundry  additional  effects  to  be  produced  by 
the  brush  and  color.  The  instructions  thus  far  given  have  re- 
ferred more  especially  to  the  subjugation  of  asperities  almost 
inseparable  from  every  negative ; but  aside  from  the  technical 
aspect  of  retouching  there  remains,  in  artistic  respects,  con- 
siderable latitude — according  to  the  liking  of  the  manipulator. 
The  nose  (for  example)  may  be  improved  in  form  ; the  eyes 
can  be  opened  more,  and  the  high-light  rendered  more  bril- 
liant ; the  mouth  can  be  diminished  by  dexterous  covering  or 
the  folds  and  corners;  the  high-lights  can  be  further  height- 
ened ; the  shadows  meliorated  ; and  the  work  further  extended 
to  improving  artistic  defects  in  details  of  the  hair,  drapery,  and 
background. 

If  it  is  desirable  to  obtain  additional  softness  in  special  parts 
of  the  negative,  cover  it  with  a thin  coating  of  Ink  or  color — 
according  to  the  effect  to  be  desired — not  on  the  varnish,  but 
on  the  back  of  the  negative. 

When  the  requisite  amount  of  work  is  supposed  to  have  been 


RETOUCHING  THE  NEGATIVES.  1 87 

done  upon  the  negative  a test-print  should  be  made,  and  if  this 
proves  satisfactory  and  the  retouching  can  be  regarded  as  com- 
plete, the  negative  may  be  finally  varnished  with  ordinary  var- 
nish. This  will  remove  the  ground-glass  appearance,  and 
restore  its  original  smoothness  and  brilliancy.  There  is  no 
danger  to  be  apprehended  from  the  action  of  the  second  coat- 
ing of  varnish  upon  the  first,  nor  any  disturbance  of  the  most 
delicate  work. 

Copies. — If,  as  has  been  seen,  the  process  of  retouching  can 
accomplish  so  much  for  a negative  from  life,  it  is  plain  that  its 
operations  are  much  more  valuable  in  preparing  work  for  the 
artist.  The  multitude  of  old-fashioned  and  (most  of  them) 
badly  taken  'types  of  the  various  kinds,  with  all  their  spots, 
dust,  and  scratches,  when  copied,  afford  wonderful  opportuni- 
ties ! while  at  the  same  time  the  retouching  serves  to  furnish 
the  artist  with  a basis  upon  which  he  can  produce  better  work. 

In  a weak,  flat  negative — as,  for  instance,  a copy  of  a ferro- 
type— a fine  stump  and  powdered  lead  can  do  a very  great  serv- 
ice , by  rubbing  somewhat  upon  the  forehead,  down  the  nose, 
upon  the  cheeks,  under-lip,  and  chin  ; and,  with  brush  and 
Ink  make  the  shirt  color  and  bosom  more  opaque.  Brilliancy 
and  finish  will  thus  result  where  all  was  previously  dull  and 
flat. 

Indeed,  there  is  rarely  a copy  made  that  should  not  be  re- 
touched to  some  degree ; and  it  is  not  unfrequent  that  acci- 
dental markings  and  opaque  shadows  can  be  easily  remedied 
on  the  negative  with  the  pencil  and  stump  in  a few  moments, 
which,  if  not  so  done,  would  only  torment  the  artist  and  serve 
to  delay  his  work.  Retouching,  properly  done,  can  scarcely  ever 
fail  to  repay  well  by  the  great  improvement  of  the  print,  whatever 
of  time  and  labor  the  operation  may  cost. 

Misconception  of  the  True  Idea. — In  closing  this  chap- 
ter, let  us  venture  some  advice  with  respect  to  the  feeling  which 
should  govern  the  operator.  It  is  so  easy  to  misapprehend  the 


iSS 


HOW  TO  PAINT  PHOTOGRAPHS. 


object  of  retouching  and  to  abuse  the  power  it  affords,  that  the 
majorit}-  of  those  who  attempt  and  practice  it  seem  to  go  quite 
astray  ! This  arises  mainly  from  a desire  to  make  a'cry  part 
jine  and  smooth,  and  too  often  results  in  a total  destruction  of  the 
more  delicate  tones  and  shadows.  Too  large  a proportion  of 
the  negatives  are  worked  to  death  ! 

Few  persons  object  to  the  obliteration  of  a freckle  or  an  acci- 
dental pimple — that  would  improve  the  face,  indeed  ; but  the 
danger  referred  to  exists  in  carmng  atl  of  the  work  too  far ! — 
whereby  truth  and  character  are  “ improved  ” completely  w/ of 
the  portrait  The  softening  of  wrinkles,  the  relieving  of  excessive 
shadows,  the  toning  doivn  of  freckles,  warts,  moles  and  other  ir- 
regularities is  one  thing  ; but  to  aim  after  the  smooth^iess  of  a bil- 
liard ball  or  polished  table-top  is  quite  another  thing  ! Remem- 
ber that  human  faces  are  not  made  of  ivory  or  marble,  but  of 
warm,  soft,  yielding,  velvet}*  y/ej'/i — resembling  nothing  but  itself 
It  is  a mocker}*  and  a delusion,  and  leads  to  the  grossest  manner- 
ism, to  stipple  and  labor  upon  a negative  so  that  the  resulting 
picture  only  conveys  the  idea  of  a hard,  unyielding  solid,  mak- 
ing every  face  similar  in  texture  and  deficient  in  individuality. 
What  was  a well-modelled  picture  of  a face  is  thus  reduced,  per- 
haps, to  a dead-flat  surface,  and  becomes  only  a map  of  the  fea- 
tures ! Unpleasant  and  unsympathetic  dead-white  prevails  over 
most  of  the  face  ; whereas  there  should  be  nothing  of  the  kind, 
except  in  the  highest  lights ! 

On  the  contrar}*,  however,  the  intelligent  and  prudent  oper- 
ator will  perceive  that  his  special  work  must  lie  principally  in 
remedying  what  the  camera  has  failed  to  do,  and  attaining  by 
means  of  a conscious  knowledge  that  which  an  unconscious 
mechanical  result  never  can.  The  too  intense  shadows  under 
the  eyebrows,  nose,  and  chin ; the  wrinkles  and  discolorations  ; 
all  these  asperities — which  have  been  exaggerated  rather  than 
mollified — should  be  subdued  and  corrected.  Great  care  will 
be  taken  also  not  to  destroy  the  natural  softness  wherever  the  hair 
and  flesh  are  in  contact ; nor  must  the  eyebrows  or  mustache 


RETOUCHING  THE  NEGATIVES.  1 89 

be  worked  around  so  closely  as  to  look  as  if  painted  or  pasted 
on  ! 

Finally,  the  most  important  idea  to  be  kept  in  mind  is,  that 
the  result  must  be  c7ijoyed  whilst  the  ivorking  itself  must  he  im- 
perceptible. We  hold  that,  if  the  manipulation  is  apparent — 
when  viewed  at  a proper  distance — the  retouching  is  a failure 
and  has  come  short  of  its  purpose.  I'he  mealy  appearance  and 
the  texture  of  a diseased  skin  (before-mentioned)  which  so  fre- 
quently passes  for  “rt^touched”  work  is  only  a burlesque,  and 
the  negative  had  been  better  ////touched  ! 


PAET  YI. 


The  revival  of  the  art  of  decorating  China-ware  and  pottery 
having  created  a demand  for  information  and  instruction  con- 
cerning the  methods  of  executing  this  beautiful  process,  it  has 
been  thought  opportune  to  respond  to  this  demand  by  includ- 
ing the  subject  among  the  contents  of  this  volume. 

The  topic  becomes  only  the  more  harmonious  with  much 
that  is  embraced  in  previous  chapters  when  it  is  remembered 
that  the  best  professional  decorators  recommend  an  originating 
of  the  designs  first  in  water  colors  on  paper ; and  also,  that  the 
ceramic  pigments  being  mixed  with  oil,  the  student  may  find 
our  instructions  under  that  head  applicable  to  some  extent  here. 

We  might  enlarge  this  chapter  also  with  interesting  knowl- 
edge respecting  the  different  kinds  of  china-ware  and  pottery  ; 
nature  of  the  colors  and  their  essential  requisites  for  the  pur 
pose  ; whence  they  are  obtained,  and  how ; the  contingencies 
to  which  they  are  subject  in  heating ; various  preparations  by 
the  different  color-men,  etc.  But  this  would  be  of  no  practical 
avail,  except  as  auxiliary ; and  whilst  we  leave  to  the  student, 
(and  recommend)  the  attainment  of  this  knowledge  from  special 
and  extended  authorities,  let  ours  be  the  immediate  purpose  of 
teaching  how  to  do  I 


CHINA  PAINTING. 


I9I 

In  this,  as  in  all  creative  art,  drawing  is  the  corner-stone. 
While  it  is  true  there  are  many  devices  to  assist  those  unskilled, 
it  is  best  that  the  student  should  acquire  the  art  of  correct  draw- 
ing, if  he  does  not  already  possess  it. 

€ltina  Painting 

Is  the  highest  and  most  delicate  and  elaborate  kind  ot  ceramic 
decoration.  Many  persons  will  attempt  the  adornment  of  the 
other  grades  of  pottery,  but  shrink  from  the  more  difficult  pro- 
cess upon  china.  This  arises  principally  from  the  fact  that  the 
china-work  must  be  tried  by  fire  ! — and  hence  there  is  a fear 
that  the  final  ordeal  may  destroy  in  a few  moments  what  many 
hours  of  patience  and  labor  have  accomplished.  This,  necessity 
therefore  suggests  the  utmost  care  and  particularity  in  manipu- 
lation, as  well  as  securing  the  very  best  materials  for  the  work. 

The  student  should  be  advised,  in  the  very  beginning,  to 
make  his  attempts  in  simple  colors  only — red,  sepia,  or  light 
blue — using  a tile  to  experiment  upon  ; and  he  should  be  sat- 
isfied if  in  his  first  efforts  he  produces  good  outlines^  and  attains 

the  feel  of  the  brush''  on  this  very  delicate  surface.  Beware 
of  using  any  more  than  the  requisite  amount  of  color,  lest  it  blister 
in  the  oven. 

It  should  be  noted  that  these  instructions  will  have  ref- 
erence only  to  the  use  of  colors  on  hard  porcelain,  the  glazed 
surface  of  which  is  susceptible  of  receiving  the  veiy  highest 
finish. 

The  Requisites  consist  chiefly  of  (i.)  the  vitrifiable  colors, 
such  as  can  be  procured,  in  tubes,  ready  for  use.  Those  pre- 
pared by  M.  Lacroix,  of  Paris,  are  perhaps  the  most  highly  rec- 
ommended ; and  owing  to  the  difficulty  of  mixing — as  com- 
pared to  those  in  ordinary  water  colors  and  oil — it  is  safest  and 
best  to  obtain  a full  complement  of  them,  so  as  to  prevent  the 
risk  and  dirtiness  incident  to  over-mixing,  and  have  on  hand 


192 


HOW  TO  PAINT  PHOTOGRAPHS. 


all  that  may  be  desired.  But  they  must  be  oi  the  same  manu- 
facture! This  is  highly  essential,  for  those  of  different  makes 
cannot  be  used  together  with  certainty. 

With  this  advice,  it  is  scarcely  necessary  to  furnish  here  any 
special  ‘ ‘ list  of  colors. Let  them  be  -selected  according  to  the 
taste  and  purpose  of  the  student.  Plates  and  plaques  showing 
these  colors,  and  their  hues  in  the  completed  state,  together 
with  the  additional  requisites,  are  found  at  the  dealers  in  artists’ 
materials.  It  is  nothing  to  select  them  ; but  how  to  use  them 
is  the  matter  which  concerns  us  most. 

(2.)  A porcelain  and  at  least  two  ?Xroxig  palette-knives 

— one  being  of  horn,  for  handling  the  carmines,  whites,  blues, 
carmine  purples,  and  all  pigments  containing  no  iron. 

(3.)  Brushes  of  several  kinds  and  sizes,  as  follows  : 

(a.)K  fine  pointed  brush,  for  outlining  the  design,  (h.) 
Some  of  medium  sizes,  for  the  local  washes,  (c.)  Several  of 
camel’s-hair,  large  and  small,  flat  and  round,  for  softening  and 
blending. 

(4.)  A Rest  for  the  hand  while  painting.  This  consists  of  a 
narrow  strip  of  wood  of  convenient  length — twelve  or  eighteen 
inches  long  and  two  or  three  wide — with  blocks  fixed  under 
each  end,  making  it  like  a bench.  [The  tile  or  ornament  is 
held  by  the  left  hand  underneath  the  level  of  the  Rest,  which 
thus  affords  a firm  support  to  the  right  hand.]  Large  tiles 
or  plaques — which  must  be  set  up  like  a canvas — will  require 
the  use  of  a Rest-A/zi:/^,  as  in  ordinary  painting.  (See  p.  148). 

Adequate  provision  must  also  be  made  of  spirits  of  turpen- 
tine and  alcohol,  and  small  quantities  of  oil  of  turpentine, 
balsam  of  copavia,  and  oil  of  lavender. 

(5.)  A needle,  set  into  a piece  of  wood  (as  a handle,)  should 
also  be  provided  for  removing  particles  of  dust  that  may  settle 
on  the  work  while  fresh.  If  allowed  to  remain,  these  will  cause 
the  color  to  accumulate  about  them,  and  are  fixed  as  dark  spots 
in  the  firing.  Guard  against  such  imperfections,  by  shielding 
your  palette  from  dust,  and  having  your  surroundings  cleanly. 


CHINA  PAINTING. 


193 


Spirits  of  turpentine  is  the  principal  medium  for  diluting  the 
tube  colors,  during  the  work,  just  as  water  is  used  in  water 
colors.  If  they  do  not  work  kindly,  add  a drop  or  two  of  oil 
of  turpentine  to  the  spirits.  Do  not  use  too  much  of  this  me- 
dium, and  when  the  brush  becomes  overcharged,  draw  it  over 
the  wiping  rag.  Let  no  alcohol  mix  with  the  turpentine,  as  it 
will  ruin  the  colors  ; the  bottles  containing  both  of  these  should 
be  kept  corked. 

Mixtures  of  enamel  colors  must  be  made  with  strict  reference 
to  the  proportion  of  iron  in  their  composition.  As  a safe  guide 
in  this  matter,  we  subjoin  the  classifications  of  the  well-known 
manufacturer,  Lacroix. 

1.  Colors  without  iron  — the  whites,  blues,  and  the  gold 
colors ; from  the  last  of  which  are  derived  the  carmines,  pur- 
ples, and  golden  violets. 

2.  Colors  containing  but  little  iron — the  yellows,  and  greens. 
[Mixing  yellow  and  jonquil  yellow  are  exceptions  to  this  class  ; 
and  containing  no  iron,  unite  best  with  the  blues  in  forming 
the  freshest  greens.  ] 

3.  Colors  whose  base  is  iron — the  reds — the  flesh  tints,  brown 
reds,  iron  violets ; browns — yellow  browns,  ochres,  blacks,  and 
most  of  the  grays — except  platina  gray. 

It  follows  therefore  that  pure  colors  depreciate  in  proportion 
as  they  are  associated  with  those  containing  iron,  that  iron 
harmonizes  best  with  iron,  and  that  a knowledge  and  compre- 
hension of  the  metallic  bases  of  enamel  pigments  is  the  best 
criterion  upon  which  to  rely  for  certainty  of  success. 

Never  use  a mixture  if  it  can  be  avoided,  but  paint  with  pure 
tints.  It  is  principally  for  this  reason  that  Chinese  and  Japan- 
ese decorations  are  so  rich  and  brilliant. 

Color-men,  being  thoroughly  familiar  with  the  needs  of 
beginners  in  ceramic  painting,  can  aid  those  who  purchase  out- 
fits for  the  work.  Everything  needed  can  be  found  on  sale. 

Designs  and  Subjects. — If  the  student  in  decoration  is  una- 

9 


194 


HOW  TO  PAINT  PHOTOGRAPHS. 


ble  to  originate  his  own  design,  he  will  find  many  suitable  ones 
already  prepared.  The  use  for  which  the  piece  of  ware  is  in- 
tended should,  as  a rule,  suggest  the  mode  of  ornamentation. 

Flowers  and  leaves  will  perhaps  give  a beginner  the  best 
opportunity,  as  they  do  not  require  systematic  and  methodical 
treatment  in  the  drawing.  Japanese  and  oriental  designs  are 
excellent,  but  more  difficult.  Butterflies  can  be  made  very 
pretty,  and  the  most  brilliant  colors  used  ; but  should  be  made 
to  copy  nature,  both  in  position  and  appearance.  Landscapes, 
and  the  human  head  and  figure  will  be  the  most  difficult,  and 
few  will  care  to  attempt  the  latter.  Monograms  will  be  found 
quite  practicable,  whether  executed  in  gold  or  colors — or  even 
one  color  nicely  shaded.  Be  the  design  what  it  may,  it  should 
be  fully  decided  on  before  the  painting  is  commenced ; and  should 
be  clearly  projected  on  paper — usually  in  water-colors,  if  not  a 
chromo-print — so  that  it  can  be  a guide  to  the  laying  of  each 
particular  tint.  There  must  be  no  experimenting  on  the  porce- 
lain / 

The  bare  possibility  of  a beginner  attempting  to  paint  the 
human  face — a task  even  difficult  under  most  favorable  circum- 
stances— induces  us  to  omit  details  on  this  topic  in  our  neces- 
sarily limited  chapter,  leaving  them  to  be  studied  elsewhere — 
as  they  can  be.  But,  as  the  similarly  white  basis  of  paper  and 
porcelain  renders  the  selection  and  application  of  tints  analo- 
gous, it  may  be  well  for  the  student  to  practice  somewhat  on 
the  former  before  trying  his  skill  on  the  latter.  He  can  also 
derive  much  useful  instruction  on  this  subject  by  study  of  Parts 
I.  and  III.,  where  every  feature  of  portrait  painting  is  specially 
treated. 

Directions  for  Dainting. 

The  first  thing  to  be  done  is,  of  course,  to  sketch  the  design 
— whatever  it  may  be — on  the  china.  Do  this  with  a hard  lead 

pencil,  with  India  Ink,  or  any  vegetable  water-color,  using  a 


DIRECTIONS  FOR  PAINTING. 


195 


fine  brush.  It  is  recommended  that  the  china  surface  will 
‘‘take’'  the  pencil  better  if  it  be  first  rubbed  with  spirits  of  tur- 
pentine, and  left  to  dry.  If  the  decorator  is  unable  to  draw,  an 
alternative  is  found  in  iracmg  his  design,  by  means  of  red  or 
black  transfer  paper, — such  as  can  be  purchased, — or  by  any 
other  of  the  well-known  methods.  Although  the  tracing-lines 
will  entirely  disappear  in  the  firing,  it  is  best  to  have  them  deli- 
cate, but  distinct.  Another  way  is  to  prick  the  lines  of  the  pa- 
per design,  and  dust  some  colored  chalk  through  them  ; but 
the  legitimate  sketch  is  the  surest  and  most  satisfactory. 

In  the  actual  painting,  the  student  may  at  first  be  puzzled  to 
judge  of  the  exact  cofisistence  of  his  color,  and  hence  he  must 
try  it  a few  times.  The  brush  must  be  handled  with  firmness 
arid  decision,  and  the  color  must  be  left  untouched  after  beimr 
first  laid.  Never  go  back  to  dabble  and  teaze  it ; and  although 
turpentine  as  the  medium  will  probably  cause  one  part  of  the 
design  to  dry  rapidly  enough  whilst  you  are  painting  another 
portion,  if  it  does  not,  the  piece  should  be  dried  in  a moderately 
heated  oven,  or  given  time  to  dry,  before  proceeding  with  the 
work. 

After  the  first  washes  of  local  color  are  dried  others  necessary 
may  be  laid,  and  left  again  to  dry ; and  then  the  lines  and 
touches  which  give  definition  and  character  may  be  added,  using 
the  smaller  sized  brushes.  If,  by  successive  dryings,  the  colors 
seem  to  have  depreciated  in  freshness,  there  need  be  no  appre- 
hension felt,  as  they  will  resume  their  former  tone  in  firing. 

If  a tinted  ground  be  desired,  to  relieve  the  design,  the 
ground-tint  should  be  laid  after  the  sketch  is  made.  The  color 
should  be  spread  and  then  softened,  and  wherever  it  covers  the 
design  it  should  be  scraped  off  with  a knife.  It  is  plain  that, 
in  these  cases,  the  design  must  be  put  in  with  India  Ink,  or 
something  equally  distinct,  in  order  to  show  through  the  in- 
fringing ground-tint. 

In  painting  flowers,  foliage,  birds,  butterflies,  etc. — each  re- 
quiring their  peculiar  hues — make  it  a rule  to  “set”  your 


196 


HOW  TO  PAINT  PHOTOGRAPHS. 


palette  with  only  such  colors  as  the  occasion  demands.  Colors 
should  not  be  used  promiscuously,  nor  unduly  exposed,  to  dry 
on  the  palette  or  by  the  action  of  heat. 

The  Shadows,  in  general,  should  not  be  produced  by  simply 
loading  on  the  local  color ; they  should  have  their  own  proper 
hue.  Grays — which  are  produced  by  blue,  brown,  and  red 
mixed  in  various  proportions — should  not  be  made  too  cold  in 
tone,  as  they  are  likely  to  assume  a darker  and  greenish  tint  in 
firing. 

The  use  of  permanent  white  is  restricted  generally  to  high 
lights  and  touches  given  to  white  flowers,  jewelry,  embroidery, 
and  other  decisive  effects.  It  must  not  be  forgotten  that  as  the 
white  of  the  paper  (in  water-color  painting, ) forms  the  basis  of 
all  white  objects  projected  upon  it,  so  the  white  surface  of  the 
porcelain  is  to  be  regarded  in  like  manner.  White  flowers, 
white  centres,  etc. , consequently  need  no  local  wash  of  white. 

A pure  tint  of  blue  cannot  be  successfully  obtained  unless  the 
brush  has  been  well  cleansed  after  being  used  for  reds,  browns, 
and  colors  containing  iron.  Dark  colors  are  usually  harder 
than  the  light  ones  ; the  latteq  being  more  fusible,  should  not 
be  applied  too  thickly,  owing  to  their  liability  to  scale  off  in 
firing. 

Gilding  must  alwpys  be  on  a glazed  surface,  and  is  very  suit- 
able for  monograms,  when  it  can  be  rendered  very  fine  by 
black-line  shading.  The  gold  can  be  obtained  from  a deco- 
rator, and  if  moist  it  only  needs  the  addition  of  turpentine  for 
use.  It  should  be  applied  moderately,  but  sufficiently  to  hide 
the  white  of  the  china-surface.  Gold  should  never  impinge  on 
any  adjacent  color. 

Lining,  or  the  describing  of  narrow  bands,  is  so  difficult  with- 
out a mechanical  apparatus  for  the  purpose,  that  it  had  better 
be  left  to  the  professional  decorator.  There  is,  however,  a sim- 
ple contrivance  called  ‘‘The  Platform''  (seep.  201)  available 
for  the  student's  purpose,  and  by  which,  with  care  and  prac- 
tice, good  results  might  be  obtained. 


DIRECTIONS  FOR  PAINTING. 


197 


Tinted  Grounds  require  the  use  of  more  oil  to  lay  them,  and 
the  addition  of  some  balsam  of  copavia  to  prevent  drying  before 
the  wash  is  blended  to  smoothness.  The  color  should  be  quite 
thinly  laid  on,  with  a broad  flat  brush,  taking  care  that  it  is  not 
allowed  to  run.  The  surface  being  well  covered,  and  allowed 
to  set  (but  not  dry),  go  over  it  with  the  blending  brush,  and 
continue  so  until  the  tint  is  perfectly  even.  The  blender  must 
be  wiped  dry  if  it  becomes  charged  with  color,  and  otherwise 
kept  clean. 

Any  part  of  the  tinted  ground  can  be  removed  with  a pointed 
stick  and  turpentine,  or  scraped  oif,  and  then  rubbed  over  with 
turpentine. 

Cleanliness,  indeed,  is  a pre-requisite  to  successful  results. 
Be  careful  to  wash  the  brushes  in  turpentine  not  only  between 
the  using  of  different  colors,  but  before  putting  them  away  for 
the  future.  Dry  them  thoroughly,  and  smooth  to  a point,  and 
place  them  so  that  their  points  shall  not  be  bent  in  any  way. 
Alcohol  is  also  recommended  for  use,  after  washing  with  tur- 
pentine. 

The  student  must  be  advised  to  learn  what  exact  proportion 
of  color  to  lay,  else  what  seemed  all  right  in  the  painting  will 
burn  away  in  the  firing. 

After  all  that  can  be  said,  however,  respecting  the  probabili- 
ties of  the  development  of  color  in  the  kiln,  the  most  reliable 
method  is  to  arrange  2,  color -chart  of  your  own,  upon  the  kind 
of  china  in  hand.  By  this,  after  having  it  fired,  you  will  see  the 
result  of  your  own  mixtures  ^X\iQ  mode  of  handling  them 
(whether  it  be  correct,  or  not) — and  you  will  have  had  a small 
degree  of  practice.  With  this,  as  a guide,  you  can  take  up  your 
work  more  intelligently,  and  with  confidence. 


198 


HOW  TO  PAINT  PHOTOGRAPHS. 


Firing. 

Like  all  earthly  works,  china-painting  must  be  tested  by  fire  ! 
It  has  been  supposed  that  several  firings  are  necessary ; and 
though  a second  and  even  a third  might  be  useful,  there  are 
risks  of  fading  the  colors  from  repeated  fires  that  render  them  at 
least  undesirable. 

A noted  professional  decorator  says  : ''as  a general  thing, 
one  is  all  that  is  necessary.  I have  invariably  prepared  the  work 
to  receive  but  one  firing,  finishing  the  painting  in  the  same  way 
as  in  water  colors.  ’’ 

If  the  process  of  firing  has  diminished  the  glaze,  a light  wash 
of  one  of  the  more  fusible  colors,  and  a second  firing,  will  re- 
store it ; but  these  necessities  should,  and  can,  be  avoided. 

In  the  large  cities,  where  facilities  exist,  this  finishing  process 
is  one  that  does  not  so  much  concern  the  student,  and  he  has 
only  to  note  results  as  his  work  is  received  from  the  potter's 
kiln.  But  if  thrown  upon  his  own  resources,  he  can  procure  a 
contrivance  called  a Muffle.  These  are  small  furnaces  more 
suitable  for  small  pieces  of  ware,  but  the  larger  ones  are  apt  to 
break.  It  is  safe  to  assume,  however,  that  the  student  will  sub- 
mit his  firing  to  the  professional  decorator  for  reasons  of  pru- 
dence, economy  and  convenience. 

As  stated  in  the  beginning,  it  was  deemed  sufficient  to 
limit  our  instructions  to  the  use  of  enamel  colors  on  hard 
porcelain — working  ' ' on  the  glaze. " But  it  may  be  added, 
there  is  a second  method,  of  painting  on  the  " biscuit,"  or 

under  the  glaze the  former  term  expressing  an  unglazed  sur- 
face, dull  and  porous,  requiring  the  biscuit  to  be  dipped  in 
glaze  and  fired  successfully.  But  the  painting  is  very  difficult, 
as  the  colors  are  not  what  they  look  to  be,  and  require  an  ex- 
perience for  which  those  seeking  ceramic  painting  as  an  accom- 
plishment would  not  like  to  strive. 


DECORATION  OF  POTTERY. 


199 


Decoration  of  JPottery, 

Compared  to  ornamentation  on  china,  this  is  a very  simple 
process  ; and  not  having  to  undergo  the  fire-test,  the  opportu- 
nity is  more  inviting. 

In  pottery  the  main  obstacle  to  overcome  is  the  porosity  of  the 
earthenware.  Those  ^of  a light  bake  are  very  porous ; nor  is 
the  other  extreme  of  hard-bake  any  more  desirable.  But  the 
condition  of  the  tile  or  vessel  can  be  fully  ascertained  by  testing 
it  on  the  bottom  with  some  color,  before  working  on  its  surface, 
and  hence  nu  work  should  ever  proceed  without  this  test  being 
made. 

A full  set  of  specially  prepared  colors — white,  black,  red, 
blue,  yellow,  gold,  etc.  — can  be  had  of  the  color-men,  and 
should  be  used  according  to  the  national  style  and  shape  of  the 
pottery,  whether  Egyptian,  Grecian,  Etruscan,  etc.  A modern 
way  of  ornamenting  is  to  coat  the  vase  entirely  with  black,  and 
then  paint  thereon  flowers,  birds,  butterflies,  etc. , using  the  or- 
dinary tube  oil  colors.  The  hue  of  the  pottery  itself  should  also 
indicate  the  colors  to  be  used  in  ornamenting  it.  Each  make 
of  ware  has  its  own  peculiar  tint,  according  to  the  earth  of  which 
it  is  composed, — baking  red,  buff,  yellow,  red-brown,  etc., — 
and  hence  only  harmonious  and  complementary  colors  should 
be  selected  for  the  decoration.  (See  p.  15.) 

Brushes  commonly  used  for  oil-colors,  tracing  paper,  sand- 
paper, spirits  of  turpentine  and  boiled  oil,  comprise  the  princi- 
pal requisites  for  decorating.  Expensive  brushes  need  not  be 
obtained,  as  the  clay  surface  is  very  destructive,  and  many  will 
be  needed. 

In  diluting  colors  for  the  ware  the  turpentine  must  be  added 
drop  by  drop,  until  by  constant  testing  (as  above  mentioned), 
the  proper  result  be  obtained.  A sufficient  quantity  of  color 
should  always  be  prepared,  so  that  a second  painting  of  the 
part  may  never  be  required. 

The  plain  cylinder,  next  to  a flat  surface,  is  the  simplest  form 


200 


HOV/  TO  PAINT  PHOTOGRAPHS. 


upon  which  a beginner  can  practice.  Errors  in  his  pencil 
sketch  must  not  be  scratched  out,  but  rubbed  off  with  sand 
paper.'  After  the  pencil,  try  the  brush. 

The  pottery  to  be  decorated  should  first  be  rubbed  to  smooth- 
ness with  sand-paper,  and  then  receive  a good  wash  of  the 
boiled  oil,  to  aid  in  resisting  absorption  of  the  oil  contained  in 
the  colors.  (The  ‘ ‘ improved  Albert  Ware  should  be  excepted, 
as  neither  oil  or  sand-paper  can  be  used  to  advantage. ) This 
darkens  the  ware,  but  is  preferred  ; a second  wash  will  make  it 
darker  still.  The  design  is  then  drawn,  or  traced  upon  it,  with 
pencil  and  paint  (similarly  to  that  mentioned  in  china-painting) 
and  the  colors  are  applied,  in  imitation  of  the  proper  style  char- 
acteristic of  the  pattern  used.  These  are  many,  and  can  be  ob- 
tained from  books  on  ceramic  ornaments,  and  other  antiquarian 
sources. 

The  pigments  should  be  mixed  in  saucers,  and  the  turpen- 
tine must  be  kept  in  a stoppered  bottle,  to  prevent  evaporation 
and  gumming.  The  bottom  of  the  vase,  where  tests  are  made, 
should  be  oiled  and  sand-papered  also.  If  it  ever  be  necessary 
to  use  a second  coat  of  paint,  to  correct  errors  or  change  the 
pattern,  more  turpentine  should  be  used  in  the  second  painting, 
to  prevent  a gloss. 

As  much  of  the  pottery  decoration  consists  in  variously  dis- 
posed lines  and  bands  encircling  the  piece — requiring  a pre- 
cision that  nothing  but  a mechanical  apparatus  could  possibly 
attain — such  means  have  been  devised  for  this  purpose ; and 
with  this  simple  instrument  many  beautiful  effects  can  be 
obtained  with  ease.  One  of  these,  perhaps  the  simplest,  is 
the  Platform  (see  wood-cut  on  next  page),  an  implement  that 
will  aid  and  encourage  the  beginner  very  much  ; for  with  that 
alone,  quite  a pleasing  effect  may  be  produced  by  placing  the 
vase  upon  the  centre  of  the  disk,  and  then  arranging  the  pencil 
or  brush  so  that  the  point  will  touch  that  portion  where  it  is 
desired  to  have  a line  or  band ; revolve  the  disk  once  slowly 
and  the  work  is  done.  For  the  next  band  or  line,  raise  or 


DECORATION  OF  POTTERY. 


201 


lower  the  vertical  bar,  and  so  on.  Broad  bands  can  be  filled 
in  (between  two  narrow  ones)  by  hand. 

Vessels  that  have  been  decorated  are  not  proper  to  use  for 
flowers,  or  any  purpose  where  it  becomes  necessary  to  fill  them 
with  water.  Even  with  an  inside  glazing  the  decoration  is 
greatly  endangered.  The  only  safe  plan  is  to  fit  a tin  or  glass 
receptacle  inside  of  the  vase. 


A common  fault  with  beginners  is  the  disposition  to  overload 
the  piece  with  too  many,  instead  of  a few  simple,  chaste 
and  appropriate  designs.  The  ornamentation  should  increase 
and  diminish  according  to  its  location,  being  light  where  the 
piece  is  narrow  and  heavy  where  it  is  broad.  With  lines — hor- 
izontal, vertical  and  oblique — in  conjunction  with  dots,  many 
of  the  most  pleasing  and  classic  forms  of  ceramic  decoration  are 
obtained  ; and  further  study  of  this  ancient  but  now  revived 
art  will  show  that  the  elements  of  design  which  have  survived, 
amid  the  wrecks  of  time,  have  been  those  of  the  most  simple 
character. 


PAET  TIL 


uF  J[ijl 


+ 


Like  religion  and  science,  art  has  its  ' ‘ commandments  ’’  and 
‘ ‘ proverbs  ” — principles,  rules,  and  maxims — which,  when  suc- 
cinctly stated,  are  best  remembered. 

Culled  from  various  sources,  some  of  these  we  propose  to  add 
here,  indiscriminately, — though  it  is  quite  probable  many  of  the 
ideas  have  been  previously  hinted.  Nor  is  it  unlikely  that  the 
beginner  may  fail  to  comprehend  the  import  and  use  of  many  of 
them  at  first ; but  as  he  progresses  in  practical  ability  he  should 
not  fail  to  increase  his  theoretical  knowledge  also,  and  thus  con- 
tinue until  hand  and  head  shall  work  together  understandingly, 
harmoniously,  successfully. 


All  retiring  parts  partake  more  or  less  of  gray. 

Endeavor  to  preserve  transparency  in  all  the  shadows. 

The  high  lights  of  flesh  should  be  of  a yellowish-  white. 

Flesh,  as  it  retires  from  the  eye,  appears  to  grow  colder  in 
tone. 

The  reflected  lights  of  flesh  are  warmer  than  the  surrounding 
parts. 


MEMORANDA  OF  ART. 


203 


All  shadows  of  flesh  must  have  gray  edges ; this  prevents 
hardness  and  gives  a rich  effect. 

The  darkest  parts  of  shadows  are  near  their  edge,  the  middle 
being  illuminated  by  reflected  light. 

Strong  shadows  should  be  warm  ; those  of  flesh  (which  is 
semi-transparent)  always  incline  to  red. 

A judicious  subordination  of  the  half-lights  to  those  which 
are  more  prominent  insures  brilliancy. 

Lights  are  less  affected  by  distance  than  shadows,  which  grow 
paler  as  the  distance  increases. 

The  highest  lights  should  have  generally  but  little  color. 

Contrasts  give  brilliancy  of  effect,  but  they  should  never  be 
violent  or  inharmonious. 

Colors  should  be  laid  with  as  little  rubbing  of  the  brush  as 
possible,  in  order  to  keep  them  fresh  and  bright. 

Strong  color  requires  rich,  deep  shadow  to  support  it. 

Every  part  of  the  background  should  appear  to  retire  from 
the  figure. 

The  eye  is  the  proper  judge  of  color,  and  the  perception  of 
color  is  a natural  gift. 

As  a general  rule,  in  mixing  compound  tints,  always  begin 
with  the  predominating  color,  and  add  the  others  to  it. 

Make  all  cast  shadows  of  one  tone,  and  always  warm  (except 
at  the  edges)  varying  of  course  with  the  local  tint. 

The  eye  requires  some  repose,  and  is  fatigued  by  an  object 
overloaded  with  ornament. 

The  first  requisite  in  every  picture  is,  that  it  should  tell  its 
own  story. 

Depend  upon  simplicity  of  arrangement  for  certainty  of 
effect. 

Accessories  should  be  subordinate  to  color,  light,  and  effect, 
with  respect  to  the  head. 

In  drapery,  two  folds  of  similar  size  and  form  should  not  be 
near  each  other. 

Most  things  that  are  gaudy  are  vulgar ; and  much  that  does 


204 


HOW  TO  PAINT  PHOTOGRAPHS. 


not  seem  so  exceedingly  vulgar  in  nature  will  appear  so  in  a 
picture. 

A photograph,  to  be  painted  according  io  art,  ought  to  ap- 
proach as  near  as  possible  to  a miniature,  and  lose  its  photo- 
graphic appearance  entirely. 

The  shadows,  and  gray  and  pearly  tints,  must  appear  to  lie 
upon  the  flesh,  instead  of  under  it,  as  they  really  do  occur  in 
nature. 

Portrait  and  miniature  -painters  invariably  place  their  sitters 
higher  than  themselves ; photographers  almost  invariably,  and 
improperly,  do  the  reverse. 

The  less  of  any  ‘ ‘ medium  ’’or  ^ ‘ vehicle,  ” except  pure  water, 
which  the  colorist  uses,  the  better  his  work  will  be  likely  to 
appear. 

‘ ‘ Prettiness  ” in  painting  is  not  art,  and  excessive  finish  is 
purely  mechanical ; the  most  accomplished  painters  have  exe- 
cuted their  finest  pictures  with  apparently  little  labor. 

Nature  relieves  one  object  from  another  by  means  of  light 
and  shade  ; and  we  find  everywhere  light  opposed  to  dark,  and 
dark  to  light. 

Every  gradation  to  shadow  is  a gradation  from  color,  and  the 
color  in  shadows,  therefore,  should  never  be  too  bright. 

The  style  of  execution  should  vary  with  the  subject,  to  aid  in 
expressing  character ; vigorous  and  bold  in  men,  delicate  and 
tender  in  women  and  children. 

Avoid  harshness.  Let  every  line  be  softened  as  in  nature, 
where,  though  the  boundary  of  sight  is  distinctly  marked,  there 
are  no  positive  outlines. 

When  the  outline  of  a figure  is  ungraceful,  it  may  judiciously 
be  lost  to  some  extent  in  the  shadow  of  the  background. 

Massing  lights  and  shadows  together  will  insure  breadth 
and  grandeur  of  effect.  A skillfully-managed  background  will 
greatly  aid  this  result. 

The  most  careful  manipulation  and  elaborate  finish  will  be 
ineffective,  without  constant  attention  to  a sufifcient  preserva- 
tion of  breadth  of  light  and  shade. 


MEMORANDA  OF  ART. 


205' 


Do  not  make  it  a rule  to  begin  and  finish  any  particular  part 
at  once  ; but  keep  the  picture  together — get  every  part  of  it  in 
before  you  begin  to  finish. 

Keep  reflected  lights  warm,  unless  the  object  from  which 
they  are  derived  is  visible  ; in  which  case  they  will  partake  of 
its  especial  tone  and  color. 

All  colors,  simple  or  compound,  have  a tendency  to  tint 
surrounding  objects  with  a faint  spectrum  of  their  complement- 
ary color. 

It  is  preferable  that  yellow  should  predominate  in  a picture 
rather  than  white,  though  yellow  should  always  be  in  less  quan- 
tity than  blue  and  red. 

The  intensity  of  tones  of  colors  should  be  equal  in  the  same 
composition  ; but  a dark  and  light  hue  may  be  used  together 
with  good  effect. 

A great  quantity  of  the  same  color  in  one  part,  and  little  or 
none  of  it  in  another,  are  fatal  to  the  general  effect,  and  disturb 
the  balance  of  colors. 

Large  masses  of  one  color  should  not  catch  the  eye  ; it  should 
receive,  at  the  same  moment,  the  combination  of  several  colors. 
Color  should  be  kept  pure  and  transparent,  truthful  to  the  sub- 
ject, and  harmonious  both  with  each  other  and  the  nature  of 
the  picture. 

The  shape  and  composition  of  a picture  should,  as  far  as 
possible,  harmonize — not  contrast  with — one  another  ; and  the 
selection  of  both  should  be  consistent  with  the  subject. 

An  appearance  of  dexterity  and  ease  is  attractive  in  every  art, 
and  in  none  more  than  in  water-color  painting  : the  labor  with 
which  ‘‘  the  effect ''  is  attained  should  be  hidden. 

It  is  not  by  the  great  variety  of  tints  that  fine  coloring  is  pro- 
duced, so  much  as  by  judicious  combinations  and  the  manner 
in  which  those  are  employed. 

Colors  that  are  most  agreeable  to  the  eye  are  such  as  the  eye 
has  become  accustomed  to  from  their  constantly  being  present- 
ed to  the  sight. 


2o6 


HOW  TO  PAINT  PHOTOGRAPHS. 


White  and  black  can  be  reconciled  only  by  the  interposition 
of  gray  ; and  red  and  blue,  by  the  presence  of  a third  color, 
combining  the  properties  of  warm  and  cold. 

The  object  of  all  photographic  representations  of  persons 
being  to  secure  an  exact  likeness,  remember  that  the  head  is 
the  principal  object  of  interest,  and  everything  else  must  be 
done  with  an  eye  to  set  that  off  to  the  greatest  advantage. 

The  color  of  most  objects  is  best  discerned  in  the  middle 
tints  ; strong  colors  are  reserved  for  the  parts  nearest  the  eye  ; 
receding  objects  are  fainter  in  color  than  those  near  the  eye. 

Keep  your  brushes  clean  by  frequent  washing,  but  never 
leave  them  standing  in  water,  nor  allow  them  to  dry  charged 
with  color — especially  body-color. 

In  the  consideration  of  a picture  or  any  work  of  art,  a motive 
or  subject  is  implied  ; and  clearly  to  express  such  motive  should 
be  the  leading  object  in  its  composition  or  arrangement. 

As  the  general  color  of  the  atmosphere  is  supposed  to  be  blue, 
distant  objects  lose  much  of  their  local  color  and  assume  more 
or  less  of  a gray  tint ; and  details  become  less  distinct  until 
they  are  totally  lost  in  the  distance. 

Painters  usually  throw  more  light  upon  the  heads  of  children 
and  women  than  they  do  on  the  male  head,  which  is  better 
suited  to  a depth  of  shadow.  Heads  of  aged  persons,  of  both 
sexes,  should  likewise  be  placed  in  a full  light,  as  it  tends  to 
soften  and  subdue  the  permanent  markings  of  age. 

In  water-color  painting  the  first  colors  should  always  be 
bright  and  pure,  because  they  may  be  easily  lowered  to  the  de- 
sired tone  ; but  if  their  purity  is  once  sullied  by  admixture  with 
other  colors,  their  original  brightness  can  never  be  recovered. 

The  presence  of  yellow  in  the  vicinity  of  red  and  blue,  or  a 
small  quantity  of  that  color  interposed  between  them,  has  the 
good  effect  of  preventing  their  borrowing  from  each  other,  and 
appearing  purple.  The  interposition  of  white  has  a similar  but 
colder  effect. 

The  dash  and  decision  of  execution  which  so  frequently  at- 


MEMORANDA  OF  ART. 


207 


tracts  our  admiration  in  works  of  art,  in  which  the  will  and  the 
way  of  their  accomplishment  appear  as  a single  impulse,  are 
often  more  the  result  of  preparatory  study  and  forethought  than 
is  generally  suspected. 

It  is  not  a good  manner  of  working  to  keep  at  one  picture 
until  it  is  completely  finished  ; but  far  better  to  have  more  than 
one  on  hand,  as  by  this  means  when  your  fresh  eye  is  brought 
to  each  picture  in  its  turn,  it  will  at  once  detect  points  that  may 
be  improved,  but  which  the  jaded  vision  had  before  overlooked. 

Red  and  green  are  not  variety,  but  contrast.  It  is  only  rarely 
and  in  the  smallest  possible  quantities  that  nature  allows  herself 
any  violence  of  contrast,  whilst  her  incessant  endeavor  is  after 
variety.  If  a face  is  excessively  fair  and  delicate  in  color,  the 
hair  and  eyes  are  correspondingly  light. 

Breadth  of  effect  is  obtained  when  the  lights  of  a picture  are 
so  arranged  that  they  seem  to  be  in  masses,  and  the  shadows  are 
massed  to  support  them,  so  that  the  attention  of  the  spectator  is 
powerfully  arrested,  and  his  imagination  excited  to  supply  the 
details. 

Mannerism  in  art  may  be  described  as  any  peculiar  way  of 
treating  or  handling  pictorial  subjects  ; the  work  being  executed 
in  one  unvaried  manner,  arising  doubtless  from  the  limited 
ideas  of  the  artist,  or  a want  of  facility  or  variety  in  the  way  in 
which  he  embodies  them.  Avoid  it. 

A constant  recurrence  to  any  one  favorite  pigment  or  tint  for 
effect  begets  mannerism  ; it  then  becomes  worse  than  useless  ; it 
injures  instead  of  improving. 

Every  color,  as  well  as  every  thing,  is  good  and  useful  in  the 
right  place  ; it  is  only  the  excess  that  is  disagreeable  or  hurtful. 

That  the  picture  should  consist  of  both  warm  and  cold  colors, 
seems  as  indispensable  as  that  it  should  have  light  and  shade  ; 
but,  which  shall  form  the  light  and  which  the  shade  is  entirely 
at  the  option  of  the  artist.  It  is,  however,  necessary  that  they 
should  have  separate  situations,  and  also  unite  both  extremes  of 
the  work  by  an  exchange  of  portions  of  each  color. 


2o8 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  proper  situation  of  strong  color  is  neither  in  the  high 
lights  nor  in  the  deep  shade,  for  it  would  destroy  the  character 
of  either ; but,  if  it  is  made  use  of  as  an  intermediate  link,  it 
will  unite  both,  and  at  the  same  time  preserve  a greater  conse- 
quence. Whether  it  is  to  be  warm  or  cold  must  depend  upon 
the  color  of  the  principal  light,  of  which  it  is  to  be  considered 
an  extension,  conveying  its  influence  into  the  darkest  recesses. 

Pictures  cannot  be  painted  by  rule  ; for  rules  themselves  are 
derived  from  pictures,  rather  than  pictures  from  rules,  precepts, 
or  books.  If,  in  viewing  a painting,  the  attention  is  involun- 
tarily drawn  to  a fine  or  a bad  effect,  the  mind  of  the  zealous 
student  will  at  once  endeavor  to  perceive  by  what  means  the  fine 
effect  was  produced,  or  by  the  disregard  of  what  principles  the 
bad  effect  resulted.  Thus  he  will  naturally  originate  rules  for 
his  own  guidance,  by  which  he  may  be  able  to  imitate  the  one 
and  avoid  the  other. 

‘ ‘ Dirty  t.ints in  coloring  express  that  the  tone  neither  repre- 
sents true  light  and  shade  nor  yet  true  coloring  ; dirty  tints  are 
most  frequently  the  result  of  inexperience  or  timidity  in  using 
colors  ; thus,  passing  wash  after  wash  of  various  pigments,  with- 
out attention  to  their  differing  qualities,  will  soon  produce  this 
disagreeable  result.  To  prevent  it,  the  student  should  make 
experiments  with  his  pigments,  and  thus  learn  beforehand  the 
result  and  effect  different  washes  or  mixtures  will  produce. 

To  prevent  any  one  color  from  becoming  conspicuous,  it 
must  be  harmonized  into  others  by  gradation,  and  not  be  too 
violently  contrasted  by  complementaries  or  inharmonious  tints. 
A color  out  of  harmony  may  be  quite,  if  not  more  conspicuous 
than  one  contrasted  with  its  complementary,  only  the  effect  will 
be  disagreeable  instead  of  agreeable.  A color  becomes  conspic- 
uous when  it  is  decidedly  unnatural  or  out  of  place,  as  blue  in 
trees,  or  pink  on  walls.  So  in  the  human  face,  the  same 
amount  of  color  which  placed  on  a lip  is  scarcely  noticed,  if 
removed  to  the  nose  becomes  strikingly  conspicuous.  A single 
spot  of  color  in  a landscape  may  often  appear  too  prominently, 
unless  repeated  by  other  smaller  and  more  broken  portions. 


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This  paper  being  prepared  with  the  same  substance  as  the 
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UTES after  the  exposure  of  the  plate  in  the  camera. 

Any  one  possessing  a Magic  Lantern  or  Solar  Camera  can 
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The  GLOSSY  RAPID  PRINTING  PA- 
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Another  great  advantage  of  this  paper  is  that  the  prints  may 
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Full  instructions  for  use  accompany  each  package. 

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lor  twelve  years,  and  had  the  brand  registered  September  14th,  1873, 

G“-  GrEN'NEPtT  keeps  up  this  famous  brand  by  employing  the  best 
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O’.  G"ENNERT  has  withdrawn  his  support  from 
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their  paper  was  returned  to  him  constantly  last  year.  Photographers  got  sick  of  blisters 
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employs  the  best  independent  manufacturer  in  Dresden  to  make  his  S.  & M.  paper, 
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think  in  reading  the  advertisements  of  monopolists,  who  would  like  to  make  people  be- 
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The  only  paper  albumenized  with  fresh  eggs  that  does  not  blister, 
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— 1865. — 


Wm.  m.  ^if^oM. 


WILSON,  HOOD  & CO, 

WE  CALL  ATTENTION  OF 

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